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Consumer culture’s killer instinct and the imperial imperative
Hilary Ann Radner

this musculature – that she must acquire under the film director’s tutelage as preparation for taking on the role. Hayward describes her transformation as a star persona: ‘With the release of the film, Parillaud went from bimbo-starlette to ferocious androgyne to lethally armed female’ (Hayward 1998 : 55). Within the film, Nikita ‘naturally’ has the strength and particularly the stamina to ‘represent

in The films of Luc Besson
Marie Mulvey-Roberts

aesthetic of light, shadow and spectacle’ derived from his work with theatrical producer, Max Reinhardt. 129 As Greta insists to Murnau’s character: ‘A theatrical audience gives me life while that thing [as she points to the camera] merely takes it from me.’ Her eventual demise is, in a sense, death by camera in a process that Merhige, as a film director, would have recognised as intrinsic to the vampiric

in Dangerous bodies
Jonathan Bignell

produce meanings. A selection of film directors whose work was identifiable as the creation of a distinct author’s vision became established, including John Ford, Howard Hawks and Alfred Hitchcock. The director’s work on the script and the assemblage of the meaning creating procedures of film making, such as the arrangement of setting, movement of the camera, performance style and editing system, were studied in detail to establish the distinctive vision of the director as author. The journal’s valuation of directors as auteurs adopted the ideology of expressive

in Beckett on screen
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Don Fairservice

has been mixed at certain points from two tracks to enable distant dialogue or singing to continue behind foreground dialogue. 15 Sarris (ed.), Hollywood Voices – Interviews with Film Directors , p. 62. 16 Robinson, ‘Painting the Leaves Black’, Sight and Sound

in Film editing: history, theory and practice
Don Fairservice

that he had enjoyed during his Biograph period confirmed for him that he was the most important director working in America, if not the world. Like many film directors that came after him, Griffith saw a direct link between the size and scale of the films that were made and the degree of recognition and acclaim that was accorded their maker. In keeping with common practice at the time, all the films that he made for Biograph had been made uncredited

in Film editing: history, theory and practice
Heather Norris Nicholson

‘the usual blood and thunder beloved of the amateur carried out rather better than usual’. 47 Public exposure was double-edged and prompted no doubt by a wish for approval conferred by ACW’s growing reputation. ‘A little gem of simplicity’ was rare praise indeed. 48 Readers were advised to learn from other film directors and keep up to date with cinematic developments. Professional works drew criticism too. One writer

in Amateur film
Carla Konta

visitors of USIS from the 1950s onwards. Among them, the linguist Stjepko Težak; the writer and literature professor Tomislav Sabljak; the writers Branislav Glumac and Luko Paljetak; the painters Josip Vaništa and Mirko Rački, and sculptor Milena Lah; the composer Bruno Bjelinski; the film director Obrad Gluščević (whose wife Maja worked in the library), and his colleague Krsto Papić; the cinematographer Goran Trbuljak; the music critics Dražen Vrdoljak and Mladen Raukar; the lawyer Vladimir Ibler; the art historian and academic professor Vera Horvat-Pintarić; the ballet

in US public diplomacy in socialist Yugoslavia, 1950–70
Duncan Wheeler

( Life Goes On ) (1965) was only awarded a classification after numerous cuts were made and, even then, the film had limited distribution. 86 In relation to Buero Vallejo’s El tragaluz ( The Skylight ), the censor requested that references to the hardships of the post-Civil War period be softened, but sceptical comments about Spain’s reputed modernisation and development had to be excised completely. 87 Neo-realist film director Francesco Rosi publicly asked for his name to be removed from the credits of Spanish–Italian co-production Il momento

in Following Franco
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Elisabeth Bronfen and Beate Neumeier

contemporary culture by writers as well as theatre and film directors of the late twentieth and early twenty-first centuries who return to Shakespeare and his contemporaries in the context of the current proliferation of the Gothic. To re-map Gothic literature onto the literary production of the Renaissance thus does not entail undoing the historical distinction between the two by collapsing two historical

in Gothic Renaissance
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Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

of Thai horror and a bow towards potential Western viewers, generally stereotyped by Thai film directors as more rational and sophisticated than local audiences. The shift from a literal to a metaphorical reading of the film is made easier by the fact that its plot explores the multilayered concept of cinema, from setting the action in a haunted cinema building, to discussing the filmmaking

in Globalgothic