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Elizabeth Ezra

Exposition universelle , the American dancer Loïe Fuller swirled, twirled and swooped her way into the public imagination, evoking the image of a butterfly and the art nouveau style so characteristic of the age. 1 At several theatres and fairgrounds, performers such as Erolyna, Ethéréa (‘un ange ou presque’ – ‘an angel, or almost’), Magneta and Miss Beauty drew audiences who came to marvel at the sight of

in Georges Méliès
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Winterbottom and a body of work
Brian McFarlane and Deane Williams

Winterbottom brought with him from the first Cracker episode editor Trevor Waite who was to edit the next nine Revolution productions including Family , Go Now , Butterfly Kiss , Wonderland (1999), The Claim and 24 Hour Party People . Waite was an experienced editor having worked on Rumpole of the Bailey (1978–92), Inspector Morse (1993) and Cracker (1993). On many of these films Waite was assisted by Peter Christelis

in Michael Winterbottom
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Brian McFarlane and Deane Williams

metropolitan life. This view is at once fascinated and appalled. This use of a threatening mise-en-scène, at its most alarming in A Mighty Heart , is characteristic of almost all of Winterbottom’s work. As far back as his first feature, Butterfly Kiss , with its affectless stretches of motorways and the characterless strips of life along their edges, through the handsome quadrangles of learning that so firmly

in Michael Winterbottom
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Russ Hunter

the usual markers of distinction: several important monographs (this volume key among them), conference keynotes, numerous invitations to contribute to special editions of journals and edited collections, as well as a host of other honours. These were, of course, important milestones in Peter’s career. But Peter was much more than the sum of these professional parts. Academics can be professional butterflies, flitting from one institution to the next in search of some kind of Holy Grail of employment

in Hammer and beyond
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Brian McFarlane and Deane Williams

work, ‘His years in television engendered some of the most important collaborative relationships that came to dominate his working ethos’. 5 These include screenwriter Frank Cottrell Boyce, who wrote Forget About Me and would later write Winterbottom’s first feature, Butterfly Kiss (1995), and several other ambitious films, including The Claim (2001) and 24 Hour Party People (2002); Trevor

in Michael Winterbottom
Brian McFarlane and Deane Williams

disease. In Winterbottom’s oeuvre , Go Now may be seen to draw on his television work, including his highly regarded, BAFTA-nominated Family , and to anticipate his prolific cinema output, poised as it is almost between the two and just after his first clear cinema film, Butterfly Kiss . As Eaton said of making Family : ‘When we were doing Family we still thought we were making a film . It had to

in Michael Winterbottom
Directions and redirections
Jonathan Bignell and Stephen Lacey

television drama forms as contemporary urban drama, crime drama and the literary adaptation. We hope that historical analysis will further theoretical studies of how genres rise and fall in profile and popularity. Situation comedy, for example, gave rise to popular programmes such as The Rag Trade (BBC 1961–63), The Liver Birds (BBC 1969–96), Butterflies (BBC 1978–83) and Dad’s Army (BBC 1968–77). But other genres are less present today, such as the work-based series drama ( The Power Game (BBC 1965–69), The Troubleshooters (BBC 1965–72), The Brothers (BBC

in Popular television drama
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Deneuve as fashion icon
Fiona Handyside

McArthur, Colin 24 McCambridge, Mercedes 150 McCann, Graham 11 McDonald, Paul 70 McQueen, Butterfly 149–50 Madame Figaro 165 Magimel, Benoît 121

in From perversion to purity
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Childhood, sexuality and The Smiths
Sheila Whiteley

personal reminiscence of ‘how you took a child, and you made him old’, and whether they can be interpreted as conveying paedophiliac connotations. ‘I dreamt about you last night . . .’  The simplicity and directness of the CAMPBELL PRINT.indd 110 21/09/2010 11:24 Sheila Whiteley 111 lyrics work like the ‘once upon a time’ of fairytale and myth, transporting the listener into a narrative that taps into a past experience. It is both reflective and wistful (‘you can pin and mount me like a butterfly’, but ‘take me to the haven of your bed’ was ‘something that you never

in Why pamper life's complexities?
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Des O’Rawe

about Direct Cinema, and how that movement might be distinguished from classic cinéma vérité. While Klein’s early Muhammad Ali documentaries, Cassius, le grand (1964, b&w, 42 min.) and Float Like a Butterfly, Sting Like a Bee (1969, b&w, 94 min.), or his Maydays­/Grand soirs et petits matins (1968­/1978, b&w, 97 min.), for example, deploy observational techniques similar to those of Robert Drew, Frederick Wiseman, D. A. Pennebaker, or the Maysles brothers in their Direct Cinema heyday, his approach is never faithful to some naive notion of rigorous objectivity

in Regarding the real