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Andrew Dix

that Jamal’s ‘human mobility’ is circumscribed at the same time that the ‘cinematic mobility’ of In This World itself is considerable. But if the film cannot in the end undo all of the privilege accorded by its production origins in the affluent West, it is nevertheless politically valuable for laying bare the ravages of contemporary corporatist transnationalism. Winterbottom has advanced this critical project in several later films, including The Road to Guantánamo (2006), co-directed by Mat Whitecross, and A Mighty Heart (2007). Selected reading

in Beginning film studies (second edition)
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Winterbottom and the English novel
Brian McFarlane and Deane Williams

Sarajevo , In This World , The Road to Guantánamo and even 24 Hour Party People are all in part characterised by a tone of low-key this-ishow-it-was filmmaking, that we shake off with some difficulty to remind ourselves that all these films involve re-enactment rather than on-thespot reportage. One is reminded too of the Winterbottom context by the presence of such cast members as Coogan, Shirley Henderson, Ian Hart and

in Michael Winterbottom
International humanitarian law in war movies
Martyna Fałkowska-Clarys and Vaios Koutroulis

hands of the enemy such as prisoners of war ( The Bridge on the River Kwai (David Lean, UK/USA, 1957) or The Great Escape (John Sturges, USA, 1963)). 15 Jean-Sébastien Chauvin , ‘ Fiction’ in Antoine de Baecque and Philippe Chevallier (eds), Dictionnaire de la pensée du cinéma ( Paris : PUF, 2012 ) 298–9 . 16 See e.g. The Road to Guantanamo (Mat Whitecross and Michael Winterbottom, UK, 2006). More generally, see Steven N. Lipkin , Derek Paget and Jane Roscoe , ‘Docudrama and Mock-Documentary: Defining Terms, Proposing Canons

in Cinematic perspectives on international law
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Brian McFarlane and Anthony Slide

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

in The Encyclopedia of British Film