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Guy Austin

deferred – most explicitly in the Venice hotel room – by the demands of Nikita’s role as assassin. If the film combines the macho thriller with ‘feminised’ romance, it is always the former which wins out. The narrative also functions at a mythical level, retelling the Pygmalion story and the plot of Jean Cocteau’s La Belle et la bête (1946), which informs Nikita’s transformation from beast

in Contemporary French cinema
Franju’s cinema in the age of the court métrage
Kate Ince

long illuminated station tunnel directly resembles La Belle et la bête (1946), while a lone cyclist passing with a lamp on his cycle recalls the encounters with solitary figures in Orphée (1950), and the glittering sparks of soldering torches give a fairytale aura to an image of men working on the track in a tunnel. Le Métro fantôme was never made because Méliès, in 1937 a very elderly man probably not well enough to

in Georges Franju
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Jonathan Bignell

. There is a typescript with production notes for Nacht und Träume at the Beckett International Foundation’s Reading archive (Beckett undated h). This records that a blue cloth was used to conceal the body of the person whose arm is seen in the play. The same technique was used in Cocteau’s La Belle et La Bête (1946), and in Cocteau’s 1950 film Orphée . Surrealist notions of the autonomised body were also explored using reverse motion. Roger Blin, director of the first French production of Godot and thus a contributor to the system of bodily movement that set the

in Beckett on screen
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David Annwn Jones

Belle et la Béte (1946). The blue flames seen from Dracula’s coach are an effect borrowed from F. W. Murnau’s Faust (1926). A roundel in a peacock’s feather morphs into a railway tunnel, a train steams over the pages of a diary, the writing is projected over Harker’s face and Dracula’s eyes appear in the sky á la Herk Harvey’s Carnival of Souls (1962). It is in

in Gothic effigy
Helen M. Davies

Rodrigues children. Anaïs was named for a character in the opera by Jean-François de La Harpe, Anacréon chez Polycrate , and Mélanie was the principal character in Mélanie, ou les Voeux forcés , a drama by André-Ernest Modeste Grétry. The name Félicie appeared in La Belle et La Bête , possibly inspired by a particular adaptation of the story by Grétry. Except for Tasso

in Herminie and Fanny Pereire
Barry Jordan

, Borges, Dick) and cinema. As well as acknowledging the surrealist traditions of Buñuel and Dalí, Abre los ojos clearly stands as a partial remake of Hitchcock’s Vertigo , arguably its main intertext. It also pays homage to the German Expressionist masterpiece The Cabinet of Dr Caligari (Robert Wiene, 1920), as well as classic versions of The Beauty and the Beast ( La belle et la bête , Jean Cocteau

in Alejandro Amenábar
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Love and death
Peter William Evans

Lukey’s flat, paintings on the wall come to life, in a way reminiscent of Cocteau’s La Belle et la bête (1946), where the objects in the Beast’s castle take on a Daliesque life of their own, but here their serried ranks are defeated by the solitary human figure of Father Tom, whose message of love triumphs over the immortality promised by the painter’s art. Even as some of the boys on the street, like their precursors in

in Carol Reed
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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