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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
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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
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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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Abbott as writer, producer and creator
Beth Johnson

. It might be by gall, stealth or favour, but if you let the audience see that you are taking care of that, you get away with murder. Murder, blood and gall literally became explicit themes in Abbott’s work, themes that ran into his next three projects; the scripting of an original two-part drama called Butterfly Collectors (Granada, April 1999), the creation of a new drama series entitled Children’s Ward (ITV, 1989– 2000) and later, the production of the second series of Cracker (ITV, 1993–96), as well as the writing of three episodes of the third series. The first

in Paul Abbott
Cristina Johnston

’ terrified black shop-maid Butterfly McQueen (uncredited in this film), nothing in the scene asks the viewer to think about this representation of, in fact, quite upsettingly violent domination of one woman by another. The interaction is merely part of the order of things in the film’s particular ideological universe, and is matter-of-factly presented as such. The film as a whole, while often hugely enjoyable, is permeated with a

in From perversion to purity
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Barry Jordan

festivals at Sitges and New York (source: imdb.com ). Amenábar also played a key role in launching Mateo Gil’s feature career, making multiple contributions to his debut film Nadie conoce a nadie (Nobody Knows Anybody, 1999). He also helped restart José Luis Cuerda’s own faltering career with the very successful La lengua de las mariposa s (Butterfly’s Tongue, 1999). In both cases, he was responsible for the film score. Also

in Alejandro Amenábar
Barry Jordan

mariposas (Butterfly’s Tongue, 1999). 12 Marianelli won an Oscar for Atonement (Joe Wright, 2007); he was also Oscar-nominated for The Brothers Grimm (Terry Gilliam, 2005). 13 For example the cast for Torrente 4 includes a rare gamut of cameos including, among others, the late dictator

in Alejandro Amenábar
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Brian McFarlane and Deane Williams

, Martin Hannett, Joy Division and New Order. In terms of Winterbottom’s oeuvre , the soundtracks to his films have featured Manchester bands, such as New Order, The Stone Roses and The Happy Mondays, as early as Butterfly Kiss , With or Without You and Welcome to Sarajevo (New Order’s ‘World in Motion’ is repeated from Butterfly Kiss ). The film also makes much of the landscape surrounding

in Michael Winterbottom
Lisa Downing

gaze. While Yvonne is put on display as a female object of desire, Meinthe’s raffish, stereotyped appearance constructs him as a visible sexual anomaly, an object of fear and ridicule. Their plight is evoked by the film’s leitmotif of butterflies (Victor claims that he is selling off his father’s collection of rare ones to make a living). Yvonne, then, is effectively a butterfly too: beautiful to look at but pinned down

in Patrice Leconte