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The book under review is a new monograph by A.A. Vershinin and N.N. Naumova ‘From triumph to disaster: Political and military defeat of France in 1940 and its origins’, published in 2022. In order to separate myth from reality and restore, as far as possible, an accurate picture of those tragic events, the authors of the monograph under review turn to a wide array of sources — ranging from memoirs of direct participants to archival documents from various countries. They also thoroughly examined the works of both classic and contemporary researches on the military and political history of France. A.A. Vershinin and N.N. Naumova provide an exceptionally detailed picture of the main political, social, military, cultural and ideological reasons that provoked the defeat of the French army. The authors debunk the popular myth that this defeat allegedly resulted from a shortage of military equipment. They show instead that it was caused by a complex of factors: instability of the Third Republic’s regime, contradictions between political parties, strategic miscalculations of the military and politicians. The authors stress that the defeat of France, which allowed the Third Reich to take a dominant position in Europe, became an important milestone in the history of international relations. According to the reviewer, A.A. Vershinin and N.N. Naumova rightly conclude that the old France, which once determined the fate of the world, perished in May-June 1940 in the battles of the Meuse and Dunkirk.

This article interrogates the reworking of melodramatic form in Christopher Nolan's Dunkirk (2017), exploring how the film's innovative structures are founded upon—and draw us toward —familiar orientations and erasures. While Dunkirk disrupts the standard rhythms of melodrama and forgoes its full range of emotional appeals, it takes inspiration from the melodramatic development of crosscutting in the service of suspense, an affect informed by visceral and moral entanglements on the part of the spectator. Investigating these entanglements illuminates the connective tissue of melodrama as it operates through affective rather than strictly linear modes of resonance and causality. In the context of Brexit and the 2015-2016 'migrant crisis,' Dunkirk taps into conservative impulses of nostalgic fantasy and the imagination of national collectivity they embody, even as it draws upon contemporary images of the migrant body at sea, suggesting the complex work of melodramatic affect in blowing us backwards into the future. [ABSTRACT FROM AUTHOR]

This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.

Christopher Nolan's cinema and its immersive quality is appreciated by audiences and critics alike, and already analysed by researchers, often mentioning "claustrophobia" as a feeling encountered in his films. However, a number of extensive explorations of his work, and filmmaking in general, leave the creation of claustrophobia in cinema undiscussed. Thus, the article aims to fill the gap and investigate his 2017's film Dunkirk, since this account of the historical event during the World War II has often been described as "claustrophobic". Cinematic space and time, the way the medium can be used to create certain feelings, as well as the properties of Nolan's work are examined. Space and time manipulation, the use of IMAX for immersion, interchanging aspect ratios, and the idea of contrasts are responsible for the claustrophobic atmosphere in the film. The study could be useful for filmmakers and creatives, as well as for audiences interested in what shapes their experience of the story they see on screen. [ABSTRACT FROM AUTHOR]

This article discusses Michel Serres’s topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres’s topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres’s philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres’s thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze’s understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan’s work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument. [ABSTRACT FROM AUTHOR]

This article shines a light on the issues of medicine, migration and border, through the perspective of medical prescription. It builds upon a long term investigation of the hospital-dependent healthcare permanencies located at the Franco-British border. There, medical consultations reveal the difficulties and dilemmas facing healthcare professionals, who are daily confronted with exiled patients, most of them transiting through to England. These caregivers struggle to establish health monitoring with these mobile populations, and must perpetually adapt and calibrate their prescriptions to the constraints of this environment. By recounting the work of these healthcare professionals, this article wishes to question the very boundaries of medication, care and health.

ÖZET Bu çalışmada Dunkirk (Christopher Nolan, 2017) filminin İngiliz ulusal kimliğiyle ilgili ne tür temsiller sunduğu değerlendirilmekte ve bu temsillerin ulusun militarizasyonu ve antimilitarizasyonu bakımından anlamı sorgulanmaktadır. Çalışmanın temel savı, filmin İngiliz ulusal kimliğine ilişkin belirli mitleri inşa ederken ve sivillerle birlikte bazı askerlerin kahramanlığı üzerinden militarist bir bakış açısı sunarken, aynı zamanda askerlerin travmatik yıkımını göstererek anlatıya bazı çatlakların sızmasına izin vermesidir. Ancak Dunkirk, genel olarak savaşın yarattığı yıkımı askerlerin travmaları, başarısızlıkları ve etik ikilemleri etrafında sergilese de bunları savaş karşıtı bir söylemin dolaşıma sokulması için kullanmamaktadır. Filmin sonunda askerlerin eve dönüşünün zafer olarak nitelendirilmesi, sivillerin desteğiyle tahliye edilen askerlere kahraman payesi yüklenmesi ve Churchill’in bir sonraki savaşa ilişkin gelecekteki kahramanlık vurgusu İngiliz milliyetçiliğini ve militarizmi yeniden üretmektedir. Ayrıca filmin söylemini çerçevelendiren Churchill’in Alman işgali karşısında İngiltere’nin sömürgelerinden yardıma gelecek askeri desteğe atıfta bulunması aracılığıyla İngiliz emperyalizminin olumlu bir içerik kazanması mümkün kılınmaktadır. Anahtar Kelimeler: Dunkirk, Christopher Nolan, milliyetçilik, militarizm

Since the 1860s, petroleum companies, through their influence on local governments, port authorities, international actors and the general public gradually became more dominant in shaping the urban form of ports and cities. Under their development and pressure, the relationships between industrial and urban areas in port cities hosting oil facilities evolved in time. The borders limiting industrial and housing territories have continuously changed with industrial places moving progressively away from urban areas. Such a changing dynamic influenced the permeability of these borders. Port cities are nodes and logistic points where various flows of commodities, wealth, and knowledge gathered before further re‐distribution. These flows affected port cities by changing their spatial organization and the availabiity of space between borders. The main question here is: How did industrial and urban borders evolve through time in port cities? Through a historical analysis, the article explores the settlements of oil facilities and the influence of oil companies over local, regional, and national governments in creating borders and how it influenced the porosity of port cities. This article, through the petroleum narrative, illustrates the impacts of past borders on the contemporary urban form through the evolution of the French port city of Dunkirk, in the North of France. As a historical study, the article analyzes the changing relationships between petroleum industrial sites and housing areas in the city of Dunkirk, using aerial pictures, archival sources, and regulations of different periods. The importance of this analysis lies in knowing that former oil sites previously located on the periphery of Dunkirk, that were forgotten by the authorities are now located within the current urban tissue. This process demonstrates the importance of historical developments to understand current challenges in the urban planning of industrial port cities.

Since the 1860s, petroleum companies, through their influence on local governments, port authorities, international actors and the general public gradually became more dominant in shaping the urban form of ports and cities. Under their development and pressure, the relationships between industrial and urban areas in port cities hosting oil facilities evolved in time. The borders limiting industrial and housing territories have continuously changed with industrial places moving progressively away from urban areas. Such a changing dynamic influenced the permeability of these borders. Port cities are nodes and logistic points where various flows of commodities, wealth, and knowledge gathered before further re-distribution. These flows affected port cities by changing their spatial organization and the availability of space between borders. The main question here is: How did industrial and urban borders evolve through time in port cities? Through a historical analysis, the article explores the settlements of oil facilities and the influence of oil companies over local, regional, and national governments in creating borders and how it influenced the porosity of port cities. This article, through the petroleum narrative, illustrates the impacts of past borders on the contemporary urban form through the evolution of the French port city of Dunkirk, in the North of France. As a historical study, the article analyzes the changing relationships between petroleum industrial sites and housing areas in the city of Dunkirk, using aerial pictures, archival sources, and regulations of different periods. The importance of this analysis lies in knowing that former oil sites previously located on the periphery of Dunkirk, that were forgotten by the authorities are now located within the current urban tissue. This process demonstrates the importance of historical developments to understand current challenges in the urban planning of industrial port cities. [ABSTRACT FROM AUTHOR]

The article examines the communication difficulties faced by the British Expeditionary Force during the France campaign of 1939–40 and determines the extent to which they were self-inflicted. Among the many assessments of the German invasion of May 1940 and associated collapse of the French, the British acceptance of long-standing deficiencies in vital systems has been overlooked. The Phoney War encouraged unrealistic expectation and insatiable demand, which compounded flawed equipment, personnel, and procedure. Opportunities to ease vulnerabilities, via efficiencies and best practice, were missed. Combat and, in particular, mobile operations, were the final straw, prompting immediate collapse and, eventually, evacuation. [ABSTRACT FROM AUTHOR]

This article reappraises the experience of the civilian crews aboard Manx personnel vessels engaged in Operation Dynamo, and the contested aftermath. More than 20,000 troops were retrieved by nine ships of the Isle of Man Steam Packet Company, three of which were sunk in and off Dunkirk. There is more than enough material for a heroic narrative to emerge, yet a sense of scandal seems to cling to these particular civilian crews. Various political, social and cultural forces foster distinctly separate narratives between the United Kingdom and Isle of Man. However, empirical research in Manx and UK archives, including access to a hitherto closed file, reveals a different story: that the official Admiralty narrative of Operation Dynamo was intentionally weaponized against the Manx civilian crews for political reasons. This was achieved through the creation of reports that were false, misleading or unsupported by evidence, the provocation of the Isle of Man's Lieutenant Governor into acts of reprisal, and through the work of an unseen editorial hand in Admiralty archives. The influence of this hostile narrative, which continues to be reinforced, has obscured the contributions of the true civilians of Dunkirk. [ABSTRACT FROM AUTHOR]

The European Union, as its existence that we can meet in the present moment, is not a creation which came out of nothing or arising of the history’s hazard, but is rather an evolutionary process that began after the end of the Second World War. In this respect, in their continuing search for security, cooperation and common prosperity, European countries have made, in turn, organizations with different profiles (economic, political, security), such as the Treaty of Dunkirk, Western Union, Organization Economic Cooperation in Europe, Council of Europe, Western European Union, all of which are creations precursor Union and, before being dissolved as obsolete or being embedded in Cleaned have served the aims of their times, representing evolutionary steps in defining project European.

This short Commentary piece explores the role of spectacle in Christopher Nolan’s film ‘Dunkirk’.

Petroleum and its refined products are globally traded commodities; they are also key elements in our energy landscape and have shaped the built environment in multiple, interconnected ways over the last century. Petroleum flows encompass the entire world. Constellations of oil actors — including corporations and nations — shape seemingly disconnected and geographically distant physical spaces over time. Together, they function as a global palimpsestic petroleumscape. Among the diverse industrial, administrative, retail and ancillary spaces that are part of this petroleumscape, this article argues, refineries have the most important "staying power." It investigates exemplary cases in four select periods of the petroleum industry: the lighting age (1860s to 1910s), the car age (1910s to 1950s), the plastic age (1950s to 1980s), and the period since the 1980s with its early attempts to go beyond oil. In the first three periods, it explores the relationship between major refineries and nearby (port) cities of Philadelphia, Dunkirk, Suez, Abadan, Rotterdam, and Tehran. It proposes that refineries due to the global networks of petroleum have managed to overcome periods of war and nationalization, of destruction and re-appropriation, while redirecting petroleum flows over time. The article then examines the current state of the refineries discussed in this article, exploring their entanglement with global events and national strategies, and their often detrimental current spatial and environmental impact. The article concludes with a reflection on the necessity to design transition strategies for cities that are based on understanding of the role that refineries have played through time. [ABSTRACT FROM AUTHOR]

By the end of the 1960s, the Lille-Roubaix-Tourcoing conurbation had been designated as a « métropole d’équilibre » (a balanced Metropolitan area). The number of actors in the planning sector was increasing, working in different organizations which were often in competition not only in their missions but also in their field of competency, these include: AUAM (The Urban Planning and Development Office of Lille Métropole), OREAM Nord (a metropolitan area development study organisation), GEP (a group for study and programme planning), Atelier du Centre Directionnel (a workshop for planning a directional centre), EPALE (a public study organisation for the planning of the Lille East new Town). The creation of these organisations is the result of the will to define the future of large territories: As from 1968, the mission of the Oream-nord was a global study of the whole region. This period is also defined by the preoccupation of French society with the quality of their living environment, by the consideration of different aspects, notably the environmental and ecological factors. The presence of a landscape architect in the team was a decisive factor in placing these questions central to the Oream-Nord thinking, thus giving considerable importance to the question of landscaping. The ideas of Jean Challet appear today to be astonishingly contemporary. He proposed that a system of basins be implemented, to protect the catchment area and for the self purification of polluted water, having a dual recreational and environmental purpose. His unrealised project of a park on the banks of the Deûle, were updated in 2002, in the Schéma Directeur de développement et d’urbanisme (master plan). Other OREAM have benefited from the input of Landscape architects – Jacques Sgard for the OREAM of Marseille and the OREAM of Lorraine, Pierre Dauvergne for the Loire Moyenne and Michel Viollet at Saint-Nazaire. What was the place of this profession in the first urban planning offices? The two examples of Lille (AUAM) and Dunkerque (AGUR) serve to analyse how the organisations of the 1970s take account of the questions of landscape quality.

In integration of environmental requirements by firms, industrial ecology is generally presented as one of the most ambitious fields of reflection and action. The theoretical base of industrial ecology is established today solidly around an “ecocentric” position, based on the analogy between the natural systems and the socioeconomic systems. However the implementation of the industrial ecology remains difficult to establish and the examples of industrial symbiosis remain limited. In front of these difficulties, we sketch the foundations of a pragmatic reading of industrial ecology, support us for it on the experience of industrial ecology led within the urban area of Dunkirk.

Basing it’s work on a methodological triangulation (interviews, observations and documentary analysis), this article attempts to understand the practice of handball through the eyes and the behavior of professional players. The approach views the player as a key to understand the team and so sees the broader complexity of identity in this sport. The results show that the professional handball player of Dunkirk is an "identity composed" marking a triple process of identity construction that contributes to the re-definition and re-appropriation of territories and areas of the game modern sports. Every day, the player is confronted with internal and external components to the game. They are urging him to interpret again his behaviour in three ways. First, he plays in the way of a handball player through a process of incarnation of the structural components of the game. But also, in the way of a professional player through a process of conversion in the way he plays. Finally, he plays in the way of Dunkirk player through a process of localization of the style of play through the integration and expression of regional values.