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Cinema beyond relation?
Andrew Asibong

cynicism, an altogether more solemn renunciation of the potential, no matter how ludic, for new forms of intimacy, kinship and community. Outbursts of violence and transformation seem to come earlier and earlier in the narrative, seem to operate less and less as cathartic end points of a revelatory struggle towards something beyond them. The films instead integrate this violence as their insidious and quotidian norm, and the

in François Ozon
Abstract only
Steven Peacock

contradictions in style and meaning. This is a cinema of exhibitionism exploring aspects of privacy, a site of alienation housing portraits of human intimacy. Fassbinder after Sirk A consideration of Fear Eats the Soul after Written on the Wind matches Fassbinder’s ardent following of Douglas Sirk’s melodramatic art. Fassbinder’s love of Sirk’s work is well known. 59 Rather than adhering

in Colour
Framing television fame
Su Holmes

24/6/08 14:23 Page 154 Entertaining television that real viewers were as naive as Mr McPhee. Chapter 4 of this book detailed how the host of Is This Your Problem?, Edana Romney, was frequently dismissed by viewers for being “completely bogus” and insincere. Rather than conveying true sentiments, she was seen as “merely acting [a] . . . part”.2 These comments would not look out of place next to Richard Hoggart’s expression of antipathy for the new slew of “TV cabaret stars . . . specialising in fake intimacy” (1958: 162). Writing at the same time, although from

in Entertaining television
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Scott Wilson

through a gift to the gods or the spirit world. For Georges Bataille, this amounts to the ritual destruction of a useful object – the first fruits of the harvest, a domestic animal or a slave. The sacrifice of utility breaks open the object of restricted economy on to the sacred realm of general economy. The violence of the sacrifice withdraws the victim from the world in which it was reduced to the condition of a thing and calls it ‘back to the intimacy of the divine world, of the profound immanence of all that is’ (Bataille, 1992b: 43). It is this order of intimacy

in Great Satan’s rage
Home video, sex crime and indeterminacy in Capturing the Friedmans
Thomas Austin

evidentiality and intimacy. But, additionally and inevitably, such footage has been selected, arranged and reworked. This has resulted in an economical and gripping first scene, posing questions that, it is implied, the narrative will later resolve. (Ultimately, however, Capturing the Friedmans remains relatively open-ended, a point that I shall return to below.) Perhaps surprisingly, this opening can be seen to accord with the conventional demands of fictional screenplay construction delineated in manuals such as Christian Vogler’s The Writer’s Journey: Mythic Structure for

in Watching the world
Celestino Deleyto

romantic comedy; on the other, the genre does not have a specific ideology – a single discourse which upholds the values of marriage and the stable heterosexual couple – but, more broadly, it deals with the themes of love and romance, intimacy and friendship, sexual choice and orientation. This shift from ideology to thematic specialisation is part of an attempt to move away from the Althusserian determinism that still pervades

in The secret life of romantic comedy
Sarah Atkinson
and
Helen W. Kennedy

emergent ‘brand activism’ – which we define as using the reputation and cultural reach of a brand to increase the visibility of political messages or social causes. We examine these contradictory forces in relation to wider macro-debates around the relationships between culture and industry, experience as commodity, social justice and the needs of the market. Through this examination, we have identified the two binary oppositions through which the productions and the organisation's identity were shaped: ‘intimacy to industrial immersion (2015

in Secret Cinema and the immersive experience economy
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Writing loneliness in the post- digital age
Sean Redmond

). Life without love, or with love that is sold on the altars of consumption, seems to create the conditions for loneliness to emerge. However, love remains one of the conduits for self-expression: it is very often the intimate register through which alienation and isolation are understood. This is something that I would like to explore in the final stopping off point in this chapter: the lonely intimacy of The

in The loneliness room
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Queering space, age, relationality
Todd W. Reeser

‘ inconnu ’). The presumably heterosexual police inspector who enters the space to investigate a suspicious death that takes place in the lake also seems out of place as he asks many questions related to male–male intimacy and sex acts, at times spying on the men and appearing out of the brush to surveil them. The most major non-gay character, Henri (Patrick d’Assumçao) seems to have an affective

in Queer cinema in contemporary France
Sylvie Magerstädt

the detailed description of the ancient city, combined with a romantic motive, a description that has a strong ‘pictorial element’ as Wyke (1997: 154) notes. Consequently, many artists were inspired to paint scenes from the novel following its publication. As such, it seems to be particularly suitable for adaption to an audiovisual medium like film and television. Here, the complexity of the detailed description and the notion of intimacy created by the romantic element chime well with the requirements of serial drama. Its long reception history means that the

in TV antiquity