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Sam Rohdie

, scene to scene, of intimacy, plot development, character on the one hand and landscape and action on the other. This alternation and smooth transition are brought to perfection in She Wore a Yellow Ribbon (1949) and Rio Grande (1950). The stories he told, especially in his westerns, were stories of heroes who helped settle the West (Kirby, Brittles, Doniphon, Abraham Lincoln), who brought law, peace, security, civility. It is at that point that the West Ford idealises ceases to exist. It becomes society, settlement, a different place, closer in time, no longer heroic

in Film modernism
Tim Butler Garrett

from one another, and – in the plea to ‘reach out’ and make contact through darkness – an amplifier of the sombre discord that smothers the room, evoking a silenced inner wish for renewed intimacy, which we might imagine is a current running through Don's thoughts as he sits nearby, but so far away from, his wife. Megan weeps at the shattering news on the screen, but the source of Don's despondent mood seems – in the wake of his recently ended affair with his downstairs neighbour Sylvia Rosen (Linda Cardellini) – to lie in a more personal gulf. This we feel in the

in Sound / image
De battre mon coeur s’est arrêté, Sur mes lèvres and De rouille et d’os
Gemma King

image a status of autonomous entity and endow the object or landscape with a face-like quality, to behold the inanimate object as that which “returns the gaze”’ (Beugnet, 2007 : 108). Audiard’s characters occupy spaces between connection and disconnection, intimacy and isolation, detachment and communion. Communication is at the heart of his work, and all his films emphasise unique forms of expression

in Jacques Audiard
Parvati Nair
and
Julián Daniel Gutiérrez-Albilla

patriarchal modes and to forge an early form of feminism in Spain. In their ‘Deterritorialised intimacies: the documentary legacies of Sara Gómez’, María Caridad Cumana González (Cuba) and Susan Lord (Canada) analyse the work of three contemporary Cuban women documentary filmmakers in the light of the trailblazing cinema of Sara Gómez. Chiefly a documentarist herself, Gómez set the agenda for Cuban feminist filmmaking. Cumana

in Hispanic and Lusophone women filmmakers
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Beth Johnson

truth of a particular character perspective through positioning their narrative version of truth against the presentation of events, interactions and dialogue offered. As such, we begin to ‘know’ the characters only in relation to other characters. Frank, for example, is, as mentioned above, dominantly coded as a self-seeking, egocentric, unreliable father. Audience perceptions of him are, in part, created via televisual editing which situates (via cross-cutting) shots of his lack of paternal duty, empathy and intimacy with his children directly against, for example

in Paul Abbott
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Friendship and treason in Robin Chapman’s One of Us and Blunt: The Fourth Man
Jonathan Bolton

Montaigne's definition of friendship as a “unity of will,” Marx's vision of comradeship lacks the deeper connection—call it intimacy, spiritual kinship or mutual fondness—usually ascribed to friendship. It is rather an enforced bond that ensures the stability of the state, a loyalty based on doctrine instead of an interpersonal kinship. George Orwell, however, did register an instantaneous fraternal bond while fighting in the Spanish Civil War. “Queer the affection you can feel for a stranger,” he observed, “it was as though his spirit and mine had

in The Blunt Affair
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Design and embodiment in The Americans
Lucy Fife Donaldson

surface in which to investigate the layers of design. Layers of intimacy The Jennings’ marriage is a professional arrangement designed as an anchor for their cover as operatives in ‘Directorate S’, Russia's programme of embedding agents to live as Americans, and so the overlapping proximity of tensions between artifice and authenticity, and between individual and nation, are in continuous negotiation. When the series begins the Jennings have been married and working together for twenty years, but it is

in Substance / style
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Beth Johnson

‘nanny state’), Owen clearly enacts the frustrated but loving role of a parent. In essence, Owen and Arnold’s relationship here exemplifies Máire Messenger Davies’s (2005: 136) notion of ‘children rescuing adults from themselves’, whatever the age of those children, Johnson_PaulAbbott.indd 27 05/08/2013 12:28 28  Paul Abbott and as such, can be considered as subversive. Even in these exchanges, however, the tender intimacy of their relationship is audible and visible on the screen. While Owen reprimands his father for his rebellious behaviour as if he is a naughty

in Paul Abbott
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R. S. White

from neuroscience and the chemistry of the brain – infatuation, romance, and attachment (or passion, intimacy, and commitment). 2 But in the terms of this book, it is noteworthy first that the various kinds of love experiences available have a close relationship to the stories we are exposed to through films, and that are gathered into major genres and sub-genres like romantic comedy of courtship

in Shakespeare’s cinema of love
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Grafting space and human relations in the trans-cinema of Claire Denis
James S. Williams

perceived as different and other within a White gaze), and in the very process opening up the cinematic frame to reveal the visible world. To deframe and reframe the Other in Denis is simultaneously to ‘unframe’ and embrace the world. Yet does this rare glimpse of a shared, communal space, where space is Williams, Space and being in contemporary French cinema.indd 239 11/01/2013 15:18:44 240 Space and being in contemporary French cinema envisioned as a site of passage and threshold to new, provisional forms of male intimacy, represent also a new postcolonial state of

in Space and being in contemporary French cinema