Search results

You are looking at 51 - 60 of 87 items for :

  • "Butterflies" x
  • Film, Media and Music x
  • Refine by access: All content x
Clear All
Abstract only
The blind side of Basque terrorism
Ann Davies

de Mikel (The Death of Mikel, Imanol Uribe, 1983), 27 horas (27 Hours, Montxo Armendáriz, 1986), Ander eta Yul, Alas de mariposa (Butterfly Wings, Juanma Bajo Ulloa, 1991), Urte ilunak (The Dark Years, Arantxa Lazcano, 1992), Días contados (Running Out of Time, Imanol Uribe, 1994), Salto al vacío (without mentioning that Calparsoro himself directed this) and Tierra (Julio Medem, 1995) (Roldán Larreta, 1999: 360). The danger in Roldán Larreta’s comments is that it reduces all these films to the same common denominator of one specific conflict; the reality of Salto

in Daniel Calparsoro
Criminality and cruelty
Paul Newland

geographer David Matless recognises that the suburb became a ‘contentious English landscape’, ‘valued by some as essentially English in its modest scale, domestic values and humdrum life, and castigated by others for the same characteristics’.17 Comfortable suburban life certainly became a fixture in some notable British television sitcoms of the period, in which it was celebrated or critiqued. These include Happy Ever After (BBC, 1974–78); The Good Life (BBC, 1975–78); The Fall and Rise of Reginald Perrin (BBC, 1976–79); Butterflies (BBC, 1978–83); and Terry and June (BBC

in British films of the 1970s
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
Abstract only
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
Abstract only
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
Abstract only
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
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
Abstract only
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
Abstract only
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