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Queer outcasts and the politics of wounded attachment
Stephen Greer

Butterfly Dance’ (thought to be inspired by the sinuous movements of modern dance pioneer Loie Fuller). Henry’s moment of imagined self-​ recognition and acceptance through performance at an avant-​garde club in Berlin –​‘I have always been /​Tongue tied /​Now my soul /​Is outside /​I’m a butterfly!’  –​is  91 The pariah 91 undercut by the audience’s refrain, taught through call and response: ‘Ich bin höflich aber verwirrt’ (meaning ‘I am polite but confused’). The moment is also followed by news that Henry is bankrupt and must sell all of his possessions. Rather than

in Queer exceptions
Peter Marks

, Gilliam’s animated characters, if they speak at all, tend to grunt or squeal subverbally, as with the old lady who trips up the passing double-decker bus, or the haunted figure of Billy Graham who breaks out of jail, or the trench-coated caterpillar who emerges from his bed as a beautiful butterfly. The relative lack of words naturally focuses attention on the creative absurdity of the images, and this

in Terry Gilliam
Tom Gunning

flâneur through an exploration of Manhattan’s Union Square. But the film focuses primarily on the movement of birds, which are only glimpsed from afar in Legend . Mediating between the overarching treetops that open the film and the park that grounds it stands a towering statue of a mother holding children. We first see the female protagonist caressing the butterflies, lion heads, and salamanders that decorate the statue’s base. Burkhardt’s camera follows flocks of pigeons in earthbound strolls as well as airborne flights. The park becomes a utopian space shared by

in Surrealism and film after 1945
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Return of the prodigious son
Paul Hammond

Obsidian Butterfly’. In line with his induction of new voices to the surrealist movement, in 1950 Breton proposed Paz’s collection of poems Liberté sur parole , translated by Péret and Jean-Clarence Lambert, for his new ‘Révélations’ series for Gallimard, alongside Georges Schehadé, Jean Ferry, and Maurice Fourré. (Only the latter’s La Nuit du Rose-Hôtel would appear at that time.) Between March and May 1951 Paz would put his name to several surrealist tracts, some minor (on the Carrouges–Pastoureau affair), one of them major: ‘Haute fréquence’, which announces the

in Surrealism and film after 1945
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Leonora Carrington’s cinematic adventures in Mexico
Felicity Gee

similar mise-en-scène to that of Moctezuma’s film: ‘You had a chateau in a city of ruins and there was André (de Mandiargues) who bewitched some chickens and some butterflies and we made a dinner consisting only chickens that fell from the ceiling in flames and were hung from a tree made of foie gras.’ She continues: ‘Walking on I come to a chateau in ruins and full of cats. I meet you and we look at each other in a mirror. You have a lynx’s head, and I myself have a horse’s head.’ 29 Carrington’s sentences weave a magical scene in which dream, nightmare, fantasy, and

in Surrealism and film after 1945
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Gracita Morales
Kathleen M. Vernon

and ethnic otherness posed an insurmountable obstacle to leading roles in mainstream productions, hence the familiar roster of African American female performers in ‘mammy’ roles, from Hattie McDaniel and Butterfly McQueen in Gone with the Wind (Victor Fleming, 1939)  to Ethel Waters, McDaniel and Louise Beavers as the maid Beulah on radio and TV. Like those of her ‘sister’ performers in other times and places, Morales’ maid characters offered an oblique reflection on the conventions and canons of the entertainment industry at the same time as the broader socio

in Performance and Spanish film
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Beth Johnson

distance between Anna and Owen is clearly placed in the frame here, with Anna standing on the opposite side of the room to Owen. In response to Anna’s request, Owen says: ‘Anna, we don’t need to do this. I just want to talk.’ In response, Anna replies: ‘What if I don’t want to listen?’ As Anna and Owen sit on the bed, both clearly nervous, Anna covers Owen’s neck with tiny butterfly kisses before asking: ‘Do I seem vulnerable to you?’ Owen’s answer is both tender and honest: ‘I think you’ve picked a really bad time to ask.’ Following Radway’s logic of romance, then, this

in Paul Abbott
Beth Johnson

two-part police drama Butterfly Collectors (Granada, 1999), the two-part drama The Secret World of Michael Fry (Channel 4, 2000), the three-part serial Best of Both Worlds (BBC, 2001) and the two-part crime thriller Alibi (ITV, 2003). In terms of Abbott’s global success, as well as the export of his original British drama, Abbott has also had several of his works (besides Shameless) remade in the USA. Both Touching Evil and Cracker6 have been remade as television dramas there (in 1997–98 on ABC and in 2004 on the USA Network). In addition, the UK TV drama series

in Paul Abbott
Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

of an angel, bird or perhaps a butterfly. Part of the fabric is diaphanous, airy, almost like gossamer. The radiance and brilliance of the Queen in the ‘Rainbow’ portrait is precisely what is evoked by the luminous quality of Kapur’s film language in this last scene. With this final example, we have arrived in the realm of a highly self-conscious reflexivity. The final sequence quotes portraits of Elizabeth as well as

in The British monarchy on screen
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The making of Medem
Rob Stone

’t put it down. I dreamed about it. It influenced me immensely’ [5]. In discussion, Medem does not distinguish between the magical realism of Garcia Márquez, which is concerned with the fabricated and literally fantastic such as ghosts, and the truly fantastic or ‘marvellous real’ of writers such as Alejo Carpentier, which deals with what is unfamiliar or ‘an unexpected alteration of reality’ (Carpentier 1995a: 86) from a European perspective but very real in Latin America, such as a cloud of butterflies obscuring the sun. These distinctions, which are blurred in Vacas

in Julio Medem