Abstract
In 2006, FI devoted an entire issue to the subject of realism in film (no. 24), and now its opposite or complement? is about to get its own spotlight. As reflected in cinema, this special volume will explore many of the meanings associated with the romantic. While these include the values and style linked to the highly influential eighteenth century movement that bares its name, this issue will also examine the broader aspects of this popular term. These include, for example, an understanding of the world imbued by idealism, preoccupied with love, and made authentic by passion. Analyzing films that encompass Classical Hollywood (The Locket), those by legendary auteur Howard Hawks (Barbary Coast, Red River), recent indies (London to Brighton, I'm Not Here) and a key work of the underground (Un Chant d'amour), look for essays by George Toles, Diane Stevenson, Stella Hockenhull, Ian Garwood, and William Rothman. And to launch this theme, Editor Jeffrey Crouse (whose previous guest issues centred round the work of Stanley Cavell and Andr Bazin) will tackle why we're attracted to romantic protagonists and their stories in the first place.
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