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Ian Mackillop and Neil Sinyard

cross the border in Ken Annakin’s extraordinary Across the Bridge (1957). This is one of the finest of all Graham Greene adaptations, a masterpiece in Mike Leigh’s eyes (see his foreword to Annakin’s autobiography, So You Wanna be a Film Director ), one of Quentin Tarantino’s top ten films, and a British film that, in theme, ambience and atmosphere, even looks ahead to Orson Welles’s noir masterpiece of a year later

in British cinema of the 1950s
Consumerism and alienation in 1950s comedies
Dave Rolinson

research student at the University of Hull, writing a Ph.D. on the television and film director Alan Clarke. I have written articles on documentary and the 1950s Quatermass television serials and films. Although I’m 27 years old, I can easily relate to the puritanical austerity and yearning for escape in my favourite 1950s films because I’ve spent all of those years in Hull. Dave

in British cinema of the 1950s
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Philippe Met and Derek Schilling

feature film directors were present throughout metropolitan France, nowhere more so than in the Paris region. Camille Canteux (Chapter 12) explores a three-decade transformation in the televisual and documentary construction of these large-scale housing developments, which well before the riots of autumn 2005 had come to typify the blighted French suburb in the public eye. Early promotional films commissioned by the State housing ministry cast the historic working-class suburbs rimming Paris as overcrowded and unhealthy, in opposition to the rationally planned new

in Screening the Paris suburbs
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

-making process itself.15 In the end, Shérazade does achieve a measure of success. The film director is forced to concede that she is not merely a stereotypical figure: no replacement can be found for her when she goes missing – only she will do (Le Fou, p. ). Her young neighbours from the housing estate share in this subversive process, transforming her portrait into a fully-fledged icon over which they mount guard, while the other pictures of naked odalisques are attacked (Le Fou, pp. –). It is now the filmmaker’s turn to see this as sacrilegious by claiming that the

in Women’s writing in contemporary France
Peter Cowie

Kubrick wrote in a letter to Bergman: ‘Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today.’ 17 Krzysztof Zanussi remarked that ‘Bergman was for me a god. I only came to film-making because I discovered Bergman.’ 18 Paul Verhoeven has noted that The Seventh Seal ‘made me realize that films can be art. It inspired me to become a film director. This is one of the most powerful and significant films

in Ingmar Bergman
Fettered geographies, unsettled histories and the abyss of alienation in the work of three Spanish women filmmakers
Parvati Nair

filmmakers in the Spanish film industry. As Tatjana Pavloviç has pointed out (2009: 189), women have encountered considerable resistance in Spain with regard to carving out spaces for themselves as serious filmmakers. The vast majority of Spanish film directors are male. The three women directors mentioned here must therefore be seen as in a minority, a fact that no doubt colours their approaches, priorities

in Hispanic and Lusophone women filmmakers
Stefania Parigi

Zavattini’s aversion to standard structures extended to contesting the actual organization of making films. Performing a somersault and throwing off his own profession as scriptwriter as one might a priestly cowl, he declared that the figure of the scriptwriter should be abolished, insofar as the film director has no need to assume the role of a theatrical metteur en scène , but rather must immerse himself in the adventure of

in Cinema – Italy
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Matthew Pateman

doctor on major Hollywood films, such as Speed and Waterworld (1995, Kevin Reynolds). But outside of the industry, he was essentially unknown, like most television and film writers at the time (unlike film directors). Twenty years later he is a household name. The television industry has changed dramatically and Whedon remains as committed as ever to the importance of mass art's ‘culture-changing’ function. Declining to

in Joss Whedon
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Keith Rathbone

film's director, Marcel Ophüls, used the cyclist to make a political point about the perfidy of certain French people during the wartime. Géminiani's statement flashed on the screen in bold letters and Ophüls followed them with video testimony from other Clermont-Ferrandais, mostly farmers and tradesmen, who remembered the Germans’ daily presence in the city. 3 Asked how other French people might not have seen Germans in town, Marcel Verdier, a pharmacist, said, ‘Well, they must have been pretty blind, you know

in Sport and physical culture in Occupied France
Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other
Ann Davies

a sympathetic character (Moreno, 1986 : 124), although she condemned certain elements of life in Berlin under the Third Reich, such as the Kristallnacht. Hitler and Goebbels invited Argentina and her then husband, film director Florián Rey, to Berlin to make films as part of the Hispano-Film Produktion company, in Germany’s well-known Ufa studios. Both Hitler and Goebbels found Argentina attractive – it is alleged that

in Screening songs in Hispanic and Lusophone cinema