The General Editor wishes to thank Alex Marlow-Mann for all of his co-editorial work and support on this edition of the Cine-Excess journal. I also extend my sincere thanks to all of the writers who contributed so much hard work to the production of this issue. I also offer further thanks to Catherine Breillat, Edwige Fenech, Allesandro Grillo, Dania Martino, Federica Martino, Leah Martino, Sergio Martino, Michele Massimo Tarantini and Alvaro Vitali for all their support and assistance in compiling film resources and the interview materials contained within this issue.
Additionally, I would like to thank Paul Johnson for designing this edition of the journal, with further acknowledgements going to Paul Smith for his promotional work conducted on behalf of the journal and the wider annual Cine-Excess event. Further thanks go to Professor Feona Attwood (University of Middlesex), Ben Halligan (University of Wolverhampton), Professor Julian Petley (Brunel University), Professor Clarissa Smith (University of Sunderland) and Professor Gillian Youngs (University of Westminster) for their advice on the completion of this journal issue. The banner design was created by Silver Ferox Design and I would also like to thank Jeremy Mincer (Silver Ferox Design).
Further, I would like to thank the following individuals, production and distribution companies who also assisted with securing promotional materials for inclusion in this issue of the Cine-Excess journal: Andreas Ehrenreich (Sheffield Hallam University), Catherine Breillat, Jacob Brown (University of Brighton), Oliver Carter (Birmingham City University), Jane Giles (British Film Institute), Marina Kissopoulos, Federica Martino, Helena Mendes (FLACH FILM) and Jill Reading (British Film Institute).
The images of Romance used in the article ‘“I Only Like Seeing Myself in Small Bits”: Catherine Breillat’s Reflections of the Female Body’ are courtesy of FLACH FILM, and we wish to thank Helena Mendes for her permission to use these images for the purpose of critical review. The additional images of Romance and Fat Girl used in the article ‘Sex is Metaphysical: Catherine Breillat’s Pornographic Films’ are also courtesy of FLACH FILM, and we once again extend our thanks to Helena Mendes for her assistance with allocating these stills. The promotional images and stills from the 2011 UK Blu-ray/DVD release of Salò used in ‘Salò, Or the 120 Days of Sodom: The Contemporary Distribution of Sexual Extremity’ are courtesy of the British Film Institute, and we wish to thank Jill Reading for providing permission to reproduce them in the article. In addition, the promotional image from the 2001 UK DVD release of Salò is courtesy of the British Film Institute, and we wish to thank Jane Giles for facilitating its use for critical review purposes in the article ‘Salò’ - A Response’. The image of Ur Kärlekens Språk / Language of Love used in the article ‘Incorporation of the Transgressive: Sex and Pornography in Danish Feature Films of the 1970s’ is courtesy of Klubbsuper8.com, and we would like to thank author Isak Thorsen for negotiating its use. The image from I jomfruens tegn/ In the Sign of the Virgin which appears in the same article is copyright of Nordisk Film A/S, courtesy of DFI/Stills & Posters Archive. We once again thank author author Isak Thorsen for negotiating its use. The image from Dværgen/ The Sinful Dwarf in the same article is copyright of Another World Entertainment and we wish to further thank author Isak Thorsen for negotiating its use. The images used in the article ‘Death, Desire and Dania: Satire, Sexuality and Erotic Mobility in 1970s and 1980s Italy’ are courtesy of Devon Cinematografica, and we wish to thank Allesandro Grillo, Leah Martino and Dania Martino for all their assistance in sourcing these materials. In addition, the on-set interview images used in the article ‘Red Light Memories: The Dania Creatives Speak’ are courtesy of the University of Brighton and Cine-Excess, and are used as part of the Rising Star award allocated to the Dania Film research project by the University of Brighton.
In the conference/festivals section of the journal, the still used in the review of The Mark of the Devil conference is courtesy of the event organisers. Similarly, the image used in the review of the Spaghetti Cinema conference is courtesy of the event organisers. Finally, the image used in the submission ‘Gorizia Spring School 2015: A Review’ was provided by the event organisers for review purposes.
The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
Additionally, I would like to thank Paul Johnson for designing this edition of the journal, with further acknowledgements going to Paul Smith for his promotional work conducted on behalf of the journal and the wider annual Cine-Excess event. Further thanks go to Professor Feona Attwood (University of Middlesex), Ben Halligan (University of Wolverhampton), Professor Julian Petley (Brunel University), Professor Clarissa Smith (University of Sunderland) and Professor Gillian Youngs (University of Westminster) for their advice on the completion of this journal issue. The banner design was created by Silver Ferox Design and I would also like to thank Jeremy Mincer (Silver Ferox Design).
Further, I would like to thank the following individuals, production and distribution companies who also assisted with securing promotional materials for inclusion in this issue of the Cine-Excess journal: Andreas Ehrenreich (Sheffield Hallam University), Catherine Breillat, Jacob Brown (University of Brighton), Oliver Carter (Birmingham City University), Jane Giles (British Film Institute), Marina Kissopoulos, Federica Martino, Helena Mendes (FLACH FILM) and Jill Reading (British Film Institute).
The images of Romance used in the article ‘“I Only Like Seeing Myself in Small Bits”: Catherine Breillat’s Reflections of the Female Body’ are courtesy of FLACH FILM, and we wish to thank Helena Mendes for her permission to use these images for the purpose of critical review. The additional images of Romance and Fat Girl used in the article ‘Sex is Metaphysical: Catherine Breillat’s Pornographic Films’ are also courtesy of FLACH FILM, and we once again extend our thanks to Helena Mendes for her assistance with allocating these stills. The promotional images and stills from the 2011 UK Blu-ray/DVD release of Salò used in ‘Salò, Or the 120 Days of Sodom: The Contemporary Distribution of Sexual Extremity’ are courtesy of the British Film Institute, and we wish to thank Jill Reading for providing permission to reproduce them in the article. In addition, the promotional image from the 2001 UK DVD release of Salò is courtesy of the British Film Institute, and we wish to thank Jane Giles for facilitating its use for critical review purposes in the article ‘Salò’ - A Response’. The image of Ur Kärlekens Språk / Language of Love used in the article ‘Incorporation of the Transgressive: Sex and Pornography in Danish Feature Films of the 1970s’ is courtesy of Klubbsuper8.com, and we would like to thank author Isak Thorsen for negotiating its use. The image from I jomfruens tegn/ In the Sign of the Virgin which appears in the same article is copyright of Nordisk Film A/S, courtesy of DFI/Stills & Posters Archive. We once again thank author author Isak Thorsen for negotiating its use. The image from Dværgen/ The Sinful Dwarf in the same article is copyright of Another World Entertainment and we wish to further thank author Isak Thorsen for negotiating its use. The images used in the article ‘Death, Desire and Dania: Satire, Sexuality and Erotic Mobility in 1970s and 1980s Italy’ are courtesy of Devon Cinematografica, and we wish to thank Allesandro Grillo, Leah Martino and Dania Martino for all their assistance in sourcing these materials. In addition, the on-set interview images used in the article ‘Red Light Memories: The Dania Creatives Speak’ are courtesy of the University of Brighton and Cine-Excess, and are used as part of the Rising Star award allocated to the Dania Film research project by the University of Brighton.
In the conference/festivals section of the journal, the still used in the review of The Mark of the Devil conference is courtesy of the event organisers. Similarly, the image used in the review of the Spaghetti Cinema conference is courtesy of the event organisers. Finally, the image used in the submission ‘Gorizia Spring School 2015: A Review’ was provided by the event organisers for review purposes.
The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.