Orientalism and the erotic in L’Immortelle and C’est Gradiva qui vous appelle
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
, 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
Méliès created a variety of symbolic
substitutions (e.g., women turning into butterflies in the 1906 Bulles de
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
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
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
Speculations of morality and spirituality in Arthur Conan Doyle’s
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
’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
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
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
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