Barry Nevin
Biographic Data
| ID | 462406 |
|---|---|
| NAME | Barry Nevin |
| GIVEN NAMES | Barry |
| FAMILY NAME | Nevin |
| SIGNATURE | NEVIN B |
| AFFILIATIONS | Technological University Dublin |
| ORCID | 0000-0002-4078-1556 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Archives of desire: Viewing cinéma colonial as a queer lieu de mémoire
Keith Reader, Across Texts: Essays on Different Forms of French Textuality
Theorising the QueerOptiquethrough Curtis Harrington'sNight Tide(1961)
This analysis has two interlinked goals. First, drawing on Lee Edelman, Dudley Andrew and Laura Mulvey, it theorizes the male homosexual optique, a mode of address that is predicated on the relationship between a film, its context of reception and its spectator, and which undermines the heterosexual exigencies of classical narrative style to implicitly address a gay male viewer. Second, it illustrates how the putatively heterosexual romance of Cu…
Gemma King, Jacques Audiard
Poetic Realism after the Liberation: Gender, Montmartre and Post-Occupation Memory in Macadam (1946)
Although generally overlooked by scholars, Macadam constitutes a key example of how filmmakers in post-war France attempted to lend continuity to 1930s oetic realist praxis. The present analysis suggests that Macadam ’s aesthetics not only raise profound questions regarding the relationship between France’s pre-war and post-war identities, but also bear the creative imprint of the film’s artistic director, Jacques Feyder. In order to address each…
Algeria and the crisis of the image-mouvement: Checking cinéma colonial ’s imperial gaze in Muriel ou le Temps d’un retour (Resnais, 1963)
One of the most cryptic characters in Alain Resnais’s Muriel ou le temps d’un retour (1963) is a returning veteran who edits his own amateur video footage of North Africa while contending with his traumatizing memories of torturing a young woman in Algeria. This article’s fundamental argument is twofold: first, Bernard’s experience of editing and watching his footage is co-extensive with his private interrogation of the reductive, propagandist im…
Introduction: From the Algerian War of Independence to the postcolonial mise en scène of memory
Pays des brumes: The Persistence of Poetic Realism in French Cinema of the Occupation
Whereas the aesthetics and politics of poetic realism in French prewar cinema have been analyzed in depth, the extent to which poetic realism persisted in French cinema of the Occupation and the textual space that it created for spectators within this cultural context remain comparatively neglected. Responding to this critical oversight, this article analyzes Christian-Jaque’s Voyage sans espoir (1943) and Jean Grémillon’s Lumiére d’été from thre…
Nicholas Winding Refn's Abject Male: Inhibiting Spectator-Identification in Bronson (2008) and Drive (2011)
Nicholas Winding Refn regularly appears to offer men as his audience's main point of identification. Yet these men are predominantly transgressive characters who frequently, if not constantly, frustrate spectator-identification and consequently linger on the periphery of cinematic paradigms. In three stages, this article analyses how Refn's violent male characters affect spectatorship. First, it considers the unstable subject mechanisms for spect…
French military masculinities and the birth of cinéma colonial: Triangulating queer desire in Jacques Feyder’s L’Atlantide (1921)
Jacques Feyder’s L’Atlantide (1921) is widely considered not only cinéma colonial’s first major representative example but also one of the genre’s most emblematic narratives. However, ambiguities in the film’s portrayal of the mission civilisatrice have received comparatively little analysis. This article aims to expand on our understanding of L’Atlantide and the mirror it held up to interwar France in three main stages. First, it situates the fi…
Female agency in the films of Jean Renoir
Although Jean Renoir’s oeuvre has been extensively debated since the emergence of the politique des auteurs in the pages of Cahiers du cinéma, his representation of gender relations has sustained less discussion than his signature formal style. This article posits that Renoir’s films provide a valuable means of identifying how gender, specifically female identity, affects temporal trajectories in cinema. First, it illustrates Gilles Deleuze’s und…
Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)
This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustr…
Framing “l’Âme des personnages”: Performance and Affect in Jacques Feyder’s Pension Mimosas (1935)
Although Jacques Feyder's authorial control over his productions and his direction of actors constituted two of the most widely appreciated aspects of his approach to filmmaking during his own lifetime, the impact of each on his mise en scene has received little critical attention. This article aims to remedy this oversight by linking both aspects in three stages: first, drawing on contemporary periodicals, recollections of Feyder's performers an…
Elle t'aime trop, et moi, pas assez: Jacques Feyder's Melodramatic mise en scène of Female Desire in Pension Mimosas (1935)
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 d…
Cracking Gilles Deleuze’s Crystal: Narrative Space-time in the Films of Jean Renoir
Applies complex Deleuzian thought to the quintessential French auteur Jean Renoir is widely considered as one of the most important technical innovators and politically engaged filmmakers in cinema history. Reassessing the unique qualities of Renoir’s influential visual style by interpreting his films through Gilles Deleuze’s film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdis…
Dans la serre: Framing the greenhouse in Le Jour se lève (1939) and La Règle du jeu (1939)
Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné’s Le Jour se lève (1939) and Jean Renoir’s La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with …
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Cracking Gilles Deleuze’s Crystal: Narrative Space-time in the Films of Jean Renoir
Applies complex Deleuzian thought to the quintessential French auteur Jean Renoir is widely considered as one of the most important technical innovators and politically engaged filmmakers in cinema history. Reassessing the unique qualities of Renoir’s influential visual style by interpreting his films through Gilles Deleuze’s film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdis…
Dans la serre: Framing the greenhouse in Le Jour se lève (1939) and La Règle du jeu (1939)
Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné’s Le Jour se lève (1939) and Jean Renoir’s La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with …
Elle t'aime trop, et moi, pas assez: Jacques Feyder's Melodramatic mise en scène of Female Desire in Pension Mimosas (1935)
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 d…
Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)
This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustr…
Framing “l’Âme des personnages”: Performance and Affect in Jacques Feyder’s Pension Mimosas (1935)
Although Jacques Feyder's authorial control over his productions and his direction of actors constituted two of the most widely appreciated aspects of his approach to filmmaking during his own lifetime, the impact of each on his mise en scene has received little critical attention. This article aims to remedy this oversight by linking both aspects in three stages: first, drawing on contemporary periodicals, recollections of Feyder's performers an…
French military masculinities and the birth of cinéma colonial: Triangulating queer desire in Jacques Feyder’s L’Atlantide (1921)
Jacques Feyder’s L’Atlantide (1921) is widely considered not only cinéma colonial’s first major representative example but also one of the genre’s most emblematic narratives. However, ambiguities in the film’s portrayal of the mission civilisatrice have received comparatively little analysis. This article aims to expand on our understanding of L’Atlantide and the mirror it held up to interwar France in three main stages. First, it situates the fi…
Female agency in the films of Jean Renoir
Although Jean Renoir’s oeuvre has been extensively debated since the emergence of the politique des auteurs in the pages of Cahiers du cinéma, his representation of gender relations has sustained less discussion than his signature formal style. This article posits that Renoir’s films provide a valuable means of identifying how gender, specifically female identity, affects temporal trajectories in cinema. First, it illustrates Gilles Deleuze’s und…
Gemma King, Jacques Audiard
Poetic Realism after the Liberation: Gender, Montmartre and Post-Occupation Memory in Macadam (1946)
Although generally overlooked by scholars, Macadam constitutes a key example of how filmmakers in post-war France attempted to lend continuity to 1930s oetic realist praxis. The present analysis suggests that Macadam ’s aesthetics not only raise profound questions regarding the relationship between France’s pre-war and post-war identities, but also bear the creative imprint of the film’s artistic director, Jacques Feyder. In order to address each…
Algeria and the crisis of the image-mouvement: Checking cinéma colonial ’s imperial gaze in Muriel ou le Temps d’un retour (Resnais, 1963)
One of the most cryptic characters in Alain Resnais’s Muriel ou le temps d’un retour (1963) is a returning veteran who edits his own amateur video footage of North Africa while contending with his traumatizing memories of torturing a young woman in Algeria. This article’s fundamental argument is twofold: first, Bernard’s experience of editing and watching his footage is co-extensive with his private interrogation of the reductive, propagandist im…
Introduction: From the Algerian War of Independence to the postcolonial mise en scène of memory
Pays des brumes: The Persistence of Poetic Realism in French Cinema of the Occupation
Whereas the aesthetics and politics of poetic realism in French prewar cinema have been analyzed in depth, the extent to which poetic realism persisted in French cinema of the Occupation and the textual space that it created for spectators within this cultural context remain comparatively neglected. Responding to this critical oversight, this article analyzes Christian-Jaque’s Voyage sans espoir (1943) and Jean Grémillon’s Lumiére d’été from thre…
Nicholas Winding Refn's Abject Male: Inhibiting Spectator-Identification in Bronson (2008) and Drive (2011)
Nicholas Winding Refn regularly appears to offer men as his audience's main point of identification. Yet these men are predominantly transgressive characters who frequently, if not constantly, frustrate spectator-identification and consequently linger on the periphery of cinematic paradigms. In three stages, this article analyses how Refn's violent male characters affect spectatorship. First, it considers the unstable subject mechanisms for spect…
Keith Reader, Across Texts: Essays on Different Forms of French Textuality
Theorising the QueerOptiquethrough Curtis Harrington'sNight Tide(1961)
This analysis has two interlinked goals. First, drawing on Lee Edelman, Dudley Andrew and Laura Mulvey, it theorizes the male homosexual optique, a mode of address that is predicated on the relationship between a film, its context of reception and its spectator, and which undermines the heterosexual exigencies of classical narrative style to implicitly address a gay male viewer. Second, it illustrates how the putatively heterosexual romance of Cu…
Archives of desire: Viewing cinéma colonial as a queer lieu de mémoire
Art (13 works) · French Historical and Cultural Studies (9 works) · History (9 works) · Literature (9 works) · Sociology (9 works) · Law (8 works) · Movie theater (8 works) · Political science (8 works) · Aesthetics (7 works) · Art history (7 works)