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The role of women in punk fanzine creation
Cazz Blasé

many of the women as wives and mothers felt, the exhibition included such works as Lyn Austin’s ‘Bubble Bath Suicide’, in which a doll is positioned face down in a bath that has been filled with Styrofoam beads, representing bubble bath. Another piece, by Phil Goodall, was a drawing of a naked woman with butterfly wings, a pin stuck between her breasts. A review of the exhibition by Linda Melvern for the London Evening Standard was headed ‘Wife is a 4-letter word’.40 Given her artistic and feminist background, Varty was perfectly positioned not only to work with Syd

in Ripped, torn and cut
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

) and Baztán (Iñaki Elizalde, 2012) and those of Munt in Akelarre/​ Witches’ Sabbath (Pedro Olea, 1984), Golfo de Vizcaya/​Bay of Biscay (Javier Rebollo, 1985), Alas de mariposa/​Butterfly Wings (Juanma Bajo Ulloa, 1991), Todo está oscuro/​Everything is Dark (Ana Díez, 1997) and El viaje de Arián/​Arián’s Journey (Eduard Bosch, 2000) respectively. By means of close readings of these performances and contextual and comparative analyses, this chapter exposes the screen personas of Gómez and Munt as false identities that complicate the articulation of desirable and

in Performance and Spanish film
Des O’Rawe

, underwear and automobile tyres like the New Realists. Art was not a special precinct of the real but a way of experiencing whatever­– ­rainfall, the babble of a crow, a sneeze, a flight of a butterfly, to list some of Maciunas’s examples.10 Anti-­ object and interactive, conceptual and instructional, anonymous, undisciplined, polemical, playful, and the original source of ‘happenings’ and mail art, the spirit of Fluxus continues to provoke the world of contemporary art and conceptualism to a surprising extent­– a­ lthough, it is important to distinguish between European

in Regarding the real
The short films (2010–11)
Deborah Martin

icons of femininity. Butterflies tend to emerge from the pupal casing in the morning.

in The cinema of Lucrecia Martel
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Dolor y gloria
Ana María Sánchez-Arce

the natural world, such as the butterflies that decorate Salvador’s cabinet. The recurrence of the grid combined with less structured lines also harks back to his childhood home, with its irregular walls, circular holes, and vanishing point at the end of the corridor as well as to the colourful off-cut tiles that Eduardo uses to make a splashback. The cave’s skylight not only provides a frame for daydreams, the light also works as a natural spotlight for Salvador on his arrival and as Eduardo sketches him. It is also used during the pivotal moment of sexual

in The cinema of Pedro Almodóvar
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Mujeres al borde de un ataque de nervios
Ana María Sánchez-Arce

– eyes, face, lips, arms, legs: in short, the physical features of women that the majority of men focus on and find most attractive, both fragmenting and dehumanizing the whole woman in the process. Again, they suggest a collection – the shot which includes the butterflies surely makes that notion quite clear. (2001: 92) The opening credits were designed by Juan Gatti, a photographer who also works in fashion and is a major collaborator of Almodóvar in the development of promotional materials such as posters and pressbooks. The fragmentation and dehumanisation of

in The cinema of Pedro Almodóvar
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Memento Mori (1992)
Neil Sinyard

Renée Asherson as Charmian belongs to Clayton’s long-time casting director, Irene Lamb. Best remembered for her French princess who is so delightfully wooed by Laurence Olivier’s Henry V in his classic 1944 film, Asherson had rarely registered on screen since, but her performance here is nothing short of exquisite, skilfully managing to suggest at once a butterfly mind unable to rest on anything long and at the same time a

in Jack Clayton
Spanish horror
Paul Julian Smith

witnesses to historical horror, boys whose sense of loss is often focused on father figures. In Montxo Armendáriz’s Secretos del corazón/Secrets of the Heart (1997), 9-year-old Javi explores a haunted house in the Basque Country in which the voices of the dead (including his father) can still be heard, while in José Luis Cuerda’s La lengua de las mariposas/The Butterflies’ Tongue (1999) it is Galician schoolboy Moncho who sees

in Spanish cinema 1973–2010
Tom Whittaker

, ‘Érase una vez una mariposa’ (There Was Once a Butterfly) by Lole y Manuel, ‘as if invoking the fictional story that will transform what might otherwise have been simply a documentary into a Saurian meditation on the status of individuality’ (1991: 172). Yet while their lyrics speak melancholically of a beautiful butterfly that is captured by a collector only to be preserved and mounted in his collection, Ángela at the end of the film is the only one to have achieved freedom, albeit through tragic circumstances. An extreme long shot depicts Ángela at dusk, as she walks

in The Spanish quinqui film
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Viv Gardner and Diane Atkinson

butterflies and beetles, including big stag-beetles, to say nothing of flowers, father impressed on me to be careful of the poisonous, such as foxglove, bella donna, etc., though I already knew. Being naturally high spirited, happy-go-lucky, in spite of my occasional fits of depression and melancholy, and longing for children’s companionship, I was drawn into playing and romping with others, father’s admonitions and threats being temporarily forgotten. There was a piece of waste land with a small pond opposite our boarding house which made an excellent playground. We made a

in Kitty Marion