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Orientalism and the erotic in L’Immortelle and C’est Gradiva qui vous appelle
John Phillips

oblivious that he is driving her toward a tragic end. (Zootrope Films 2006 ) The tragic end in question is a ‘Madame Butterfly-style’ suicide, to accompany which Robbe-Grillet specifies the use of appropriate extracts from the Puccini opera (Robbe-Grillet 2002 : 154). In Gradiva , as in his previous films, young women frequently appear naked as the

in Alain Robbe-Grillet
Elizabeth Ezra

, arguably, a difference rather than an opposition), they are all posited as structural equivalents. It is conceivable that most, or even all, of Méliès’s substitutions could be shown to convey symbolic equivalence, but here the focus will be limited to the overtly symbolic instances. Méliès created a variety of symbolic substitutions (e.g., women turning into butterflies in the 1906 Bulles de savon animées

in Georges Méliès
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Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’
David Scott Diffrient

Pons’s most challenging film from a stylistic as well as structural point of view, Morir (o no) , a series of ‘what if’ scenarios showing how the altering of a single person’s destiny can have a kind of ‘butterfly effect’, changing the course of narrative events and guaranteeing the survival of several (initially ill-fated) individuals. Conclusion: a trend in Catalan cultural

in Contemporary Spanish cinema and genre
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Screening capital and culture in Airbag and Smoking Room
William J. Nichols

stories, character and dialogue but with mind-numbing special effects and explosions, scintillating scenes of heterosexual sex and gratuitous violence, and formulaic plots and stock characters of little psychological depth. Airbag represents a contradiction in Bajo Ulloa’s cinematic style developed in his first two feature films, Alas de mariposa/Butterfly Wings (1991) and La madre muerta/The Dead

in Contemporary Spanish cinema and genre
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Morgan: A Suitable Case for Treatment (1966)
Colin Gardner

middle of a performance of Madame Butterfly or pinning a poster of Che Guevara on one’s suburban bedroom wall. For Reisz, Morgan’s art remains locked in a solipsistic vacuum while hegemonic society busily goes about its consensus-building work around him. All that remains is to wait for the next generation of Morgans to reach maturity under the dubious nurture of Leonie and Charles. If our maths is at all accurate, Morgan

in Karel Reisz
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Speculations of morality and spirituality in Arthur Conan Doyle’s writings
David Beck

regarding the location of Wilson’s tattoo, though not the significance of its design. It states: ‘[w]ith women the decoration is usually a bee, a butterfly, a spray of flowers or a monogram. These ornaments are worn inside the wrist, so they may be hidden by the glove, if necessary’ ( Tit-bits 1891a : n.p.). Wilson’s tattoo, being situated above his right wrist, may be convenient as it would be easy to hide with long sleeves. In plotting Holmes’s investigations, Doyle used the motif of an easily hidden tattoo to conceal aspects of a character’s past, while intentionally

in Tattoos in crime and detective narratives
John Hill

’s Prague (1991), Sally Potter’s Orlando (1992), Mike Leigh’s Naked (1993), Ken Loach’s Land and Freedom (1994), the Quay brothers’ Institute Benjamenta (1994) and Michael Winterbottom’s Butterfly Kiss (1994). Due to the shortage of production funding from within the UK, there were, of course, added incentives to look to Europe as a source of finance. As a result, there was a growth in European co-productions during the 1980s, and European television in particular became an important source of finance. The German public service

in British art cinema
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The British Brando?
Andrew Roberts

all, while the baboons look on in amazement’ (Review 1965–66 : 52). 10 No glittering prizes for guessing which fromage Bogarde was comparing himself to. 11 ‘It seems incredible to me that there are still some directors around who think a meaningless shot is worth having. Surely, if the nouvelle vague and all its vagaries have taught us anything, it is that if the shot is useless it must be cut’ (Sarne 1967 : 5). 12 It was also distributed under the title of The Butterfly Affair. 13 ‘Nice performances all round too, with stern Stanley Baker, seductive

in Idols of the Odeons
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Never your typical ‘nice blonde’
Andrew Roberts

radiant smiles, clean pinafores and clean coiffeurs’ ( 2015 : 207) and Georgie seems cut from the same cloth. She goes to work, she lives in a neatly furnished flat and she would certainly have no problems in charming shelter from a passer-by. Her manner appears brisk and almost condescending – in Amy’s words, ‘You look at me, and you feel so efficient’. But Syms makes her wholly believable and sympathetic – a young lady who is both bright and naive; John Cutts credited her ‘teenage butterfly caught fast in an emotional spider’s web’ as ‘the best performance in the film

in Idols of the Odeons
Philip Gillett

-class child is socialised. 27 Yet, like many of life’s pleasures, escapism derives its power from being experienced rather than intellectualised. Star quality is one factor which distinguishes the cinema from other media and which contributes to its power to make the audience forget the everyday world. Yet analysing the mystique of the star carries the danger that its essence is lost, just as dissecting a butterfly does nothing to

in The British working class in postwar film