The once high-tech tool of world leaders and the financial elite has lost its cutting-edge reputation, aspirational appeal and its customers.
There has been renewed interest in the ideology, particularly among young people in the West, writes Stuart Jeffries.
Friends laughed at Michel Hazanavicius when
they heard of his plans to circumvent movie history.
He’s aiming to crack Hollywood, but Tom Hardy is getting typecast as a thug. Can he escape?
How do you turn the July 7 London bombings into a film? Director Rachid Bouchareb tells <b>Stuart Jeffries</b> how it all started.
Without wishing to sound too much like Rex Harrison, let me ask this: Why can’t the English be more like the French?
As a bookshop chain grows bigger, the more it seems to lose its soul. <em>Stuart Jeffries</em> asks what effect this has on publishing.
Gabby Sidibe’s performance in the acclaimed film, <em>Precious</em>, has made her an unlikely star. But she is nothing like her screen persona.
One day, Lance Stewart was trying to get out of the tube station in a hurry. "I got off the train and suddenly found myself behind a huge crowd."
Is there anything more to Twitter than a popularity contest for borderline sociopathic losers who can’t hack friendship in the real world?
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/ 20 November 2008
As the global financial crisis tightens its grip, sales of Karl Marx’s <i>Das Kapital</i> are booming. Stuart Jeffries offers this handy primer.
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/ 29 October 2008
Aravind Adiga’s debut novel, <i>The White Tiger</i>, won the Booker prize but its unflattering portrait of India as a society racked by corruption.
David Yates talks sex, money and quidditch with Stuart Jeffries.
Recently, I got an email complaining about an article I’d written. It happens. The angry tone was nothing if not consistent until very near the end. One question. After all that rage, why did she sign off with her first name and two kisses? This week I received an email from a PR woman with whom I had not previously corresponded, let alone met. It started with "Hi Stu" and ended with "warm regards". The "warm" part especially threw me.
It was perhaps the second glass of wine that did it. That, or the dessert of millefeuille aux poires. Or it could have been the blanquette, the bourguignon, or whatever Le Firmament in the Rue 4 Septembre in Paris’s second arrondissement was offering as the day’s special.
‘To me the core of film-making is to stir the emotions of the audience,’ says Frank Darabont, director of tear-jerking prison movie The Green Mile. Stuart Jeffries tries not to laugh.