Projecting \u3ci\u3ele Temps des Loisirs\u3c/i\u3e: Cycling and Working-Class Identity in French Cinema of the 1930s

This article interprets images of bicycles in two films – Le Crime de Monsieur Lange (Renoir, 1936) and Le Jour se lève (Marcel Carné, 1939) – whose directors each turned their cameras to the competing ideologies that fractured France over the course of the 1930s. Locating the practice of cycling within its contemporary economic, political and sociological contexts, this analysis proposes that Renoir and Carné’s respective portrayals of cycling chart evolutions in French national identity and express French society’s expectations of the future during the rise and precipitous fall of the Front populaire in the turbulent years preceding the outbreak of the Second World War. Particular attention is lent to the relationship between cycling and concerns raised by Léon Blum’s government, including industrialism, enterprise, health and le loisir

\u27Elle t\u27aime trop, et moi, pas assez\u27: Jacques Feyder\u27s melodramatic mise en scène of female desire in Pension Mimosas (1935)

Extract Melodrama ‘à la française’: Feyder and French cinema of the 1930s By the end of 1934, Jacques Feyder had led a distinguished career in French silent cinema, had directed a critically acclaimed adaptation of Émile Zola’s Thérèse Raquin (1928) in Berlin, had returned from a three-year contract in Hollywood, had brought Le Grand Jeu to the screen (the greatest box-office success of the 1933–34 season), and appeared to be virtually unstoppable as he proceeded to direct his next film, Pension Mimosas. The film was described by one critic as ‘sans aucun doute l’une des œuvres les plus attendues de la saison prochaine’ and would rank as the season’s seventh-highest box-office success.1 Popular enthusiasm for Pension Mimosas, ostensibly a maternal melodrama, was doubtless sparked by its incendiary portrayal of female quasi-incestuous desire. The narrative centres on Louise (Françoise Rosay) and Gaston Noblet (Henri Alerme), co-owners of a boarding house..

Profondeur de champ in Jean Renoir’s The Golden Coach

ARTIFICE IN DEPTH: THE EVOLUTION OF PROFONDEUR DE CHAMP IN JEAN RENOIR'S THE GOLDEN COACH The ideal response to the problem posed by colour is to completely avoid […] the vérité extérieure and work entirely in studio décor. [… ] The vérité intérieure is often hidden behind a purely artificial environment.(1)- Jean Renoir […] Realism in art can only be achieved through artifice.(2)- André Bazin The Golden Coach (1953), filmed in the aftermath of Renoir's American experience and the production of The River, can appear somewhat anomalous within the context of his career: the deep, singular hues of the Indian environment and the British family's residence in The River (1951 [cf. Figs. A - B]) are sacrificed for the multicoloured commedia dell'arte costumes worn by Camilla and the rest of the theatre troupe...

“After Hollywood and its ever-blue skies, how beautiful Paris looks!”: Jacques Feyder between France and America, 1928-1934

Although generally relegated by present-day historians to the footnotes of film history, Belgian director Jacques Feyder (1885–1948) strove to elevate the artistic standards of French film production throughout the 1920s and 1930s. His departure for Metro-Goldwyn-Mayer studios on the cusp of the transition to sound in France was viewed as a crisis, and his return was hailed as an event. Drawing on contemporary periodicals, this article answers two fundamental questions: Why did France\u27s leading am bassador leave his adoptive homeland? And what factors motivated his return to France despite the country\u27s notoriously anarchic mode of production? Core concerns include Feyder\u27s experience of censorship in France during the 1920s, the impact of the French economy on filmmaking conditions, including sound technology, and Feyder\u27s desire to direct 1940, an ultimately aborted French project, while under contract to MGM

(Re)visions of the Outre-mer: looking at the male gaze in Jacques Feyder’s Le Grand Jeu (1934)

Cinéma colonial is regarded by certain scholars as a highly conventionalised and commercialised film practice that grants spectators a sense of control over the potentially threatening colonial Other, and Belgian director Jacques Feyder has been subject to particularly harsh criticism in this regard. This article argues that Feyder’s Le Grand Jeu (1934), which depicts a young legionnaire’s relationship with a cabaret singer who bears an uncanny resemblance to a previous lover who jilted him in Paris, challenges dominant tendencies in portrayals of gender and colonialism in French cinema of the 1930s. Drawing on the relationship between Laura Mulvey’s theorisation of the male gaze and E. Ann Kaplan’s understanding of the imperial gaze, this article considers two core aspects of Feyder’s film. First, it illustrates how narrative sequences structured around the male protagonist’s point of view simultaneously grant insight into his vision of women and critically distance the spectator from his manipulative relationship with Irma. Second, it demonstrates that the framing of the protagonist’s gaze is linked with broader questions regarding French white objectification of indigenous Algerian women in a fashion that reflexively exposes the ideological underpinnings of cinéma colonial and French colonial culture of the interwar period more broadly in ways that French cinema of the 1930s largely elided

‘Prochainement: Arizona Jim contre Cagoulard’: framing the future of the Front populaire in Jean Renoir’s Le Crime de Monsieur Lange (1936)

Gilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, an unfilmed screenplay written by Renoir during the making of Lange, this article argues that Renoir mobilises his signature techniques and proto-fascist iconography to reflexively criticise local attempts to implement socialist ideals in contemporary Paris

A Rubric Guide for New Academics

Early career academics entering Higher Education face many challenges. The demands of a new work environment – particularly a third-level institute – can lead to struggles for identity and purpose together with uncertainty of how to fit into a new role (Archer, 2008; Houston, Meyer, & Paewai, 2006). The importance of supporting new academics is identified by many authors including Adcroft and Taylor (2013) and Sadler (2012), and is a crucial issue where assessment of student performance is concerned. Assessment is a major driver of student learning, and scholars have extensively documented the importance of constructively aligning assessment types to learning outcomes (Biggs, 2003; Boud & Falchikov, 2006; Crisp, 2012). Good assessment practice should accomplish a number of key objectives (Boud, 1995) including the stimulation of student learning, objective measuring of student accomplishment and provision of marks that are both valid and reliable. Rubrics can support new academics aiming to fulfil these goals by clearly articulating expectations whilst also providing a framework for feedback (Ash & Clayton, 2004; Stiggins, 2002). Adopting such a student-centred approach is a well-recognised strategy to support teaching and learning (Plush & Kehrwald, 2014). This project therefore aims to further the understanding of how rubrics can be used to support the assessment process. Two artefacts – an infographic and a website – have been created as part of a suite of resources to support new academics and foster good assessment practice more broadly

CoCREATE: Collaborative Curriculum Reimagining and Enhancement Aiming to Transform Education

The establishment of TU Dublin in January 2019 provided a unique opportunity to create a bespoke curriculum framework for students, staff and stakeholders of TU Dublin, produced by the students, staff and stakeholders of TU Dublin. A curriculum framework is a set of guiding values that inform the design of teaching and learning activities within TU Dublin. A Teaching Fellowship Team, comprising eighteen teaching academics from across the three TU Dublin campuses and supported extensively by the Learning Teaching and Technology Centre (LTTC), was formed to collaboratively craft, in partnership with all stakeholders, a curriculum framework for TU Dublin. Working collaboratively under the project name CoCREATE (Collaborative Curriculum Reimagining and Enhancement Aiming to Transform Education) the Teaching Fellowship Team developed TU Dublin’s CoCREATED Curriculum Framework over eighteen months. The design and development of the CoCREATED Curriculum Framework was informed by consultation with all key stakeholders across all campuses, examination and synthesis of local, national and international best practice and policy, as well as relevant scholarly literature. The framework is underpinned by the core values and mission of TU Dublin, as well as local and national strategic plans. It provides a distinctive but tangible learning philosophy for all at TU Dublin. The framework is both considered, flexible and progressive so as to adapt to the diversity within TU Dublin, including accredited programmes, and is inclusive of all learners across the university. The four curriculum values of the TU Dublin CoCREATED Curriculum Framework are: Step forward and try new things Use all of our talents; everyone has something to learn and something to teach Make our learning experience active, useful and related to the world Create the space and time to do work that matters This new, dynamic and evolving TU Dublin CoCREATED Curriculum Framework characterises an innovative, responsive and caring learning environment for the diversity of our university’s student population across all programme levels. Simultaneously, it developed a synergy between staff, students, professional bodies, industry and community partners through a collaborative design process. It is as inspiring, distinctive and pioneering as Ireland’s first Technological University. The CoCREATED Curriculum Framework will support staff and students to develop a unique approach to teaching and learning, which will characterise a TU Dublin teaching and learning experience, and ultimately a TU Dublin graduate, in a competitive national and international higher education space. Going forward, the TU Dublin CoCREATED Curriculum Framework will empower the judicious creation of rich and diverse curricula across all disciplines and levels within TU Dublin, from apprenticeship, through undergraduate, to structured PhD

Lead exposure in adult males in urban Transvaal Province, South Africa during the apartheid era

Human exposure to lead is a substantial public health hazard worldwide and is particularly problematic in the Republic of South Africa given the country’s late cessation of leaded petrol. Lead exposure is associated with a number of serious health issues and diseases including developmental and cognitive deficiency, hypertension and heart disease. Understanding the distribution of lifetime lead burden within a given population is critical for reducing exposure rates. Femoral bone from 101 deceased adult males living in urban Transvaal Province (now Gauteng Province), South Africa between 1960 and 1998 were analyzed for lead concentration by Inductively Coupled Plasma Mass Spectrometry (ICP-MS). Of the 72 black and 29 white individuals sampled, chronic lead exposure was apparent in nearly all individuals. White males showed significantly higher median bone lead concentration (ME = 10.04 µg·g−1), than black males (ME = 3.80 µg·g−1) despite higher socioeconomic status. Bone lead concentration covaries significantly, though weakly, with individual age. There was no significant temporal trend in bone lead concentration. These results indicate that long-term low to moderate lead exposure is the historical norm among South African males. Unexpectedly, this research indicates that white males in the sample population were more highly exposed to lead

Evaluation of a retrospective diary for peri-conceptual and mid-pregnancy drinking in Scotland:a cross-sectional study

Introduction: Heavy episodic (“binge”) drinking among women in Scotland is commonplace; prepregnancy drinking is associated with continued antenatal drinking. Evidence for effectiveness of standardized antenatal alcohol assessment is lacking. Alcohol-exposed pregnancies may be missed. We assessed peri-conceptual and mid-pregnancy consumption using a week-long retrospective diary and standard alcohol questionnaires, and evaluated the agreement between these instruments. Material and methods: Cross-sectional study in two Scottish health board areas involving 510 women attending mid-pregnancy ultrasound scan clinics. Face-to-face administration of alcohol retrospective diary and AUDIT or AUDIT-C assessed weekly and daily alcohol consumption levels and patterns. Depression-Anxiety-Stress Scale (DASS-21) assessed maternal wellbeing. A sub-sample (n=30) provided hair for alcohol metabolite analysis. Pearson's correlation coefficient investigated associations between questionnaires and alcohol metabolite data. Results: The response rate was 73.8%. The retrospective diary correlated moderately with AUDIT-C and AUDIT but elicited reports of significantly higher peri-conceptual consumption, (median unit consumption on “drinking days” 6.8; range 0.4–63.8). Additional “special occasions” consumption ranged from 1 to 125 units per week. Correlations between DASS-21 and retrospective diary were weak. Biomarker analysis identified three instances of hazardous peri-conceptual drinking. Conclusions: Women reported higher consumption levels when completing the retrospective diary, especially regarding peri-conceptual “binge” drinking. Routine clinical practice methods may not capture potentially harmful or irregular drinking patterns. Given the association between prepregnancy and antenatal drinking, and alcohol's known teratogenic effects, particularly in the first trimester, the retrospective diary may be a useful low-tech tool to gather information on alcohol intake patterns and levels