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Realism, recognition and representation
Jonathan Bignell

one life with another. Overlapping this dual function as window and mirror, television also exhibits tensions between characteristics of immediacy and intimacy. In news or the live broadcasting of sport, for example, television claims to bring immediately occurring events to its viewer, and the medium’s heritage of liveness is crucial to this. The possibility of live broadcasting was also significant

in Genre and performance
Abstract only
Carrie Tarr

protagonists. Alice thinks she loves both Franck and Elsa, but Franck, who becomes increasingly proprietorial towards Alice, is initially hostile to Elsa, and Elsa, who wants to resume the intimacy with and power over her sister that she had enjoyed as a child, is happy to provoke Franck’s antagonism. Alice therefore finds herself caught between them, first expressing affection and concern for her sister, then rejecting her as her

in Diane Kurys
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Anatomy of a film
Diana Holmes
and
Robert Ingram

mid-shots that frame the characters alone and in different combinations. The smoothness of camera movement echoes the riders’ own gliding motion, and the combination of sustained framing and panning between characters provides a visual metaphor for their shifting degrees of intimacy and separation. One of the film’s characteristic camera movements is the fast pan, in which the link between two characters is made not by a

in François Truffaut
Bleak Moments
Tony Whitehead

superior to and in control of Hilda, Sylvia treats her as an equal’.6 Sylvia and Peter return, and Sylvia comes upstairs to see Hilda. She invites Pat to stay for coffee, but Pat declines; Sylvia looks rather disappointed and worried, as if the potential intimacy of being alone with Peter at this stage in their date makes her anxious. Pat goes downstairs and she and Peter indulge in what Carney calls a ‘semi-comic Mexican standoff’:7 he does not realise that he is blocking her access to her knitting-bag, which she wants to retrieve before leaving; she cannot bring herself

in Mike Leigh
Riot grrrl and body politics from the early 1990s
Laura Cofield

the ambiguous and permeable margins between subversion of and compliance with patriarchal norms, and both grrrls question what constituted feminist resistance within the neoliberal context of unrelenting self-improvement. Fanzines offered space to challenge the culturally dominant ideals of body shape and explore these complexities through a personalised approach. This was further complicated by the grrrls’ sense of the expectations of intimacy and authenticity required by their audiences as part of the zine writing narrative. Bikini Kill #2 Handwritten on a

in Ripped, torn and cut
Thomas Paul Burgess

instrumentation overdubs and vocal multi-tracking. The ambience and intimacy make it easy to lose all track of time and place, and you become so focused on the task at hand that you forget to eat or even sleep. You feel like a kid in a sweet shop, wanting to stay until musical permutation after permutation is exhausted in the search for that holy grail of mixes, the definitive version. The

in Wild colonial boys
Christa van Raalte
and
Maike Helmers

bright white jacket). At the same time, it creates an uncomfortable intimacy with Frank, who refers us back to his masterplan: ‘What she's asking will cost far more than that’. This use of shallow depth-of-field to separate the soliloquising Frank from the diegetic background action is another trope we will see throughout the series, along with linguistic flourishes that are reminiscent of Shakespearean or Jacobean villains, employing a register and a form of imagery very rarely found in Frank's diegetic speech. Both make a simple and immediate dramatic impact

in Complexity / simplicity
Nelly Kaplan, Jan Švankmajer, and the revolt of animals
Kristoffer Noheden

’s aspirations and inner turmoil and charged with their own sovereign sense of mystery, her horses suggest that an animal imagination may be conducive to greater intimacy with the non-human, while still respecting its alterity. Kaplan’s films too evince a combined state of animal intimacy and alterity in relation to humans. She does not merely imbue the cat and the goat with human values, but depicts a reciprocal bond, in that the goat and the cat in their turn intrude on the human. Such reciprocal relations and exchanges are particularly apparent in scenes where human and

in Surrealism and film after 1945
Stephen Lacey

2003b). Difficult it certainly was, in the sense that it did not sit easily within either the familiar genres of popular television or the conventions of mimetic social realism. Garnett has always sought the popular audience, but recognised that within the ecology of contemporary broadcasting winning audiences ‘the hard way’ is a high-risk strategy. ‘Soap dramas’ – a politics of intimacy and identity: This Life, and Attachments When Peter Flannery’s nine-part series Our Friends in the North finished on BBC2 in March 1996, its place was taken by World’s This Life

in Tony Garnett
Sylvie Magerstädt

of television to create audience involvement through a sense of intimacy and instead aimed to mimic the style of cinematic productions. This attempt at epic scale is particularly evident in the later episodes. In the final episode (episode 9, ‘The Monument’), for instance, we see Cleopatra sitting on a giant sculpture that has some reminiscence of her entrance into Rome in the famous film version (Cleopatra, 1963), which was released just one month after the BBC series had aired. According to the biography of actor Peter Cushing, who plays Cassius in the series

in TV antiquity