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Keith Reader's brief, unfinished article 'Freeze Peach' situates contemporary controversies surrounding free speech in relation to material and economic concerns. Ian James's response draws attention to the way Keith does this by bringing together four key figures of late twentieth-century philosophy and theory: Louis Althusser, Jean-François Lyotard, Terry Eagleton and Stanley Fish. Ian argues that the conjugation of Marx-inspired theory with thinkers associated with the postmodern would have allowed Keith to develop a uniquely perceptive and productive insight into the present moment of political disorientation, one which demands a renegotiation of the legacies of both modernity and postmodernity. [ABSTRACT FROM AUTHOR]

Paris: Grasset, 2000, 663 pp. 148 FF. ISBN 2- 246-59221-6 It is early days yet, but Levy's pave bids fair to stimulate an interest in Sartre already rekindled by the [...]

Alain Resnais's international reputation - going back more than thirty-five years to his feature debut with Hiroshima mon Amour - as among the greatest of film directors can be said, [...]

An analysis is presented of the affair of teacher Gabrielle Russier with her 17-year-old student, Christian Rossi, in France in 1968. Christian's parents filed suit against Russier and she later committed suicide after receiving a 1-year suspended jail sentence. The case and suicide were hotly debated in the French press, encompassing many political and cultural overtunes.

The interpretation and reproduction, as opposed to confession or justification of the French cinema during the occupation years is reported. The French cinema world with state assistance was restructured along considerably more industrial, less artisan lines.

This article examines the reasons why the label of film maudit is all too applicable to Jean Eustache’s nowadays little-known masterpiece La Maman et la putain, offering a succinct overview of the director’s career and the film as well as situating it within the time of its making and release and analysing its subsequent distributional vicissitudes. Along with a brief scrutiny of what exactly might be meant by the term film maudit, it offers an analysis of the reasons why the film’s accessibility is so restricted and a summary of available (and not-so-available) secondary sources dealing with it. [ABSTRACT FROM AUTHOR]