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In all instances in which Morgan Kaufmann Publishers is aware of a claim, the Many people assume that to best study the principles of game design, one would . designer would do, and before long, to your surprise, you will find you are one. . You will need to listen to your team (Chapters 23 and 24), since you will be.

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Ubisoft, the maker of the game, has mounted a variety of defenses, none of which are mutually exclusive. Third, and most interestingly, it has claimed that it compromised historical accuracy in the game for the sake of enhancing the experience of gamers.

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After all, Americans have tended to be somewhat forgiving of their Founding Fathers even if these men had flaws of their own. This invocation can make one sound edgily revolutionary without demanding too much in the way of concrete action. If the French Revolution were to recur eternally, French historians would be less proud of Robespierre.

But because they deal with something that will not return, the bloody years of the Revolution have turned into mere words, theories, and discussions, have become lighter than feathers, frightening no-one.

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There is an infinite difference between a Robespierre who occurs only once in history and Robespierre who eternally returns, chopping off French heads. Hi Hugh, Great post — fascinating controversy. I wonder if differentiating your writers has begun to make more sense, giving the department a diverse set of voices, rather than common ancestors :. Happy Thanksgiving. You are commenting using your WordPress.

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You are commenting using your Facebook account. Firstly, is class such a prohibitive concept?

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Surely one can use class as a conceptual tool whilst appreciating that individuals possess a number of identities? Moreover, whereas community is concerned with rank and status, there are discursive formations and practices which are class-specific. Second, is Butler arguing that notions of community are more objective and insightful? Community is a sociological category with, arguably, an inherent sentimentality and can be just as limiting a concept as class if used in a narrow sense, and no historian can really claim to provide an objective account of the period being investigated even if they would like to think they are doing so.

In the post-war period, Butler notes, the symbolic function of the rural and the urban was radically altered because of the pressure wrought by changing social conditions and raised expectations.

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Of course, one of these determinants is the consumer. Films have to be pleasurable to watch if they are to be commercially successful. Film-makers, therefore, need to remain aware that they are part of a reciprocal relationship. She can thus clearly demonstrate how the widely divergent experiences of British and French society during this period required equally different representations in film.

Significantly, then, Butler ably refutes orthodox assumptions which have posited that French cinema during this period simply bowed to the demands of the Vichy regime.


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Indeed, it is this aspect of her work which is most productive. Subsequently, she offers a new appreciation of the meaning and appeal of the films she analyses. Moreover, her close reading of these films provides her with the material to challenge other preconceptions regarding the film culture in this, and indeed any other, period.

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An often-repeated indictment against the film medium which Butler rightly challenges is its provision of escapist entertainment. While Butler is less willing to challenge the term itself although how can we do so when many cinema-goers claimed their primary reason for visiting the cinema was to escape the drudgery of daily life? Chapters 6 and 7, which focus on how film-makers responded to the changing expectations and aspirations of women after the war, best exemplify the benefits of this practice.

Film and Community in Britain and France takes a concertedly historical approach to its subject, and places much emphasis on empirical evidence which is derived from a wide range of sources. Many references are taken from secondary academic texts rather than directly from the archive. Additional problems arise when Butler skips over issues which remain highly contested. It takes rather too glib a perspective on an extremely complex issue.

Whilst debates are duly noted, they are glossed over too easily.

It would appear that the sentimentality intrinsic to notions of community has led Butler to oversimplify the complex historical evidence available, and thus neglect the class, gender and ethnic divisions that unquestionably prevailed throughout British society. There are other problems to do with the oversimplification of the British film industry.

As Sue Harper has noted, with such a large organisation at his helm, Rank was often too preoccupied to control everything that went on within it.


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  8. Hindle Wakes , for one, warned of the dangers of cross-class relationships. Another problem is the coverage of audience response. If audience responses are so revealing which they undoubtedly are , why does Butler use them so infrequently?