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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
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Peter Marks

argument being that comedy works best with medium shots more redolent of television. Much of the dialogue was delivered straight to camera, Terry Jones feeling that this gave the comedy more intensity. Jabberwocky has serious aims, even as it uses comedy to make some of its points. It opens in an idyllic natural world, serenaded by a chirruping flute and symbolised by a green butterfly sitting

in Terry Gilliam
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
Jonathan Bignell and Stephen Lacey

nostalgia. Butterflies (BBC 1978–83) functioned for some of its women viewers, Hallam argues, as a way of negotiating changing roles for women and attitudes to domesticity, and this response to the programme was documented by respondents to her requests for memories about the programme. Nelson discusses how older viewers of Dad’s Army saw the programme as a validation of ideas about national solidarity and community, contributing to memories that informed their sense of the present. Younger viewers without that memory understood the programme somewhat differently

in Popular television drama
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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
Horror and generic hybridity
Andy W. Smith

denotes social conformity in the high school scenario. Unlike Bender in The Breakfast Club , who raises a clenched fist on the football field in defiance of conforming to the normative value system, Zeke is assimilated into the culture of conformity. But the film finishes on an image of transmutation, as Casey photographs a butterfly. It is an apt metaphor for a film where everything changes – and

in Monstrous adaptations
Hyangjin Lee

butterfly follows a flower, but a flower cannot follow a butterfly’. In Shin’s treatment of Ch’unhyang’s relationship with Mong-nyong, her social class does not weigh as much as her feminine virtues. The film evades any in-depth discussion of the obvious status gap between the two lovers. Mongnyong tersely remarks: ‘If she is a daughter of a kisaeng, she is also a kisaeng. Is there a problem if a

in Contemporary Korean cinema