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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
Abstract only
‘It’s not a question of ignorance, Laurence, it’s a question of taste’
Ruth Adams

narrator of his own career. References Andrews , M. ( 1998 ), ‘ Butterflies and caustic asides: housewives, comedy and the feminist movement ’, in S. Wagg (ed.), Because I Tell a Joke or Two: Comedy, Politics and Social

in Screen plays
Sarah Wright

on specific contextualisations or references which allow spectators to engage in a ‘proper’ way? Secretos del corazón (Secrets of the Heart), directed by Montxo Armendáriz, was released in 1997. Set in the 1960s, it featured a child protagonist and made visual and thematic allusion to El espíritu de la colmena. But, like La lengua de las mariposas (Butterfly’s Tongue, José Luis Cuerda), released two years later in 1999, which similarly delivered affective performances through its child protagonist, it raises questions concerning its use of nostalgia and its

in The child in Spanish cinema
Barry Jordan

Total (1985), followed by two years teaching filmmaking at Salamanca University. He returned to commercial directing in 1987 with El bosque animado (The Haunted Wood), winner of five Goyas, a surrealist fantasy, located in Galicia and the first of a series of rural comedies. His break-through film, which did very well internationally, was the period adaptation La lengua de las mariposas (Butterfly’s

in Alejandro Amenábar
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Brief Encounter (1945), The Passionate Friends (1949) and Summer Madness (1955)
Melanie Williams

‘up and down like the erratic temperature of a feverish patient’ lacking ‘the easy unforced line of Brief Encounter’,97 while the Express found it ‘a butterfly of a film – and not an easy one to put a net over. It keeps fluttering around, showing the gossamer brilliance of its wings, but somehow it never gets close enough to be pinned down.’98 Although The Passionate Friends was being gently criticised for its lack of steadiness and certainty, by choosing to compare the film to a gorgeous shimmering butterfly or an unsettling fever dream, the critics also managed to

in David Lean
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy and Isabelle Vanderschelden

de 5 à 7 ): CLÉO: Minute, beau papillon: être laide, c’est ça la mort. Tant que je suis belle, je suis vivante et dix fois plus que les autres. (Wait, beautiful butterfly: ugliness is death. As long as I look beautiful, I am alive, ten times more than the others

in Screenwriters in French cinema
The Dragon’s Trilogy
Karen Fricker

Western ­appropriation of Oriental material for purposes of exoticism, spectacle, or making indirect political reference, without any attempt to discover the voice of that material itself’ (88). For example, the production continually and indiscriminately slipped between Chinese and Japanese references, as when Wong’s sisters appeared on stage to the sound of Japanese music.16 The attachment of Yukali’s family line to the rest of the production is tenuous, and the Madame Butterfly trope of the loved and deserted Japanese woman, which figures in the depictions of both

in Robert Lepage’s original stage productions
Douglas Keesey

: elle se sentait souvent humiliée, aussi la disait-on orgueilleuse’10 (Beauvoir 1958: 101). If Elena is the picture-perfect butterfly, then Anaïs is the unevolved larva, the flesh not yet informed by spirit – ‘une gourde’, ‘une truie’, ‘une grosse tâche’, ‘ce bout de viande cru’,11 as she is variously called throughout the film. ‘J’en ai marre qu’on me traîne comme un boulet’,12 Anaïs tells Elena, for she is made to feel like a physical weight oppressing her sister’s spirit, holding her back from achieving the ideal romance she aspires to with Fernando. Of the two

in Catherine Breillat
Martin O’Shaughnessy

scornful of her women students who ‘spread their thighs’ to get a husband and cry when men leave them. The more fragile Brenda feels hemmed in by the patronising way her husband, family and friends look upon her at home. In contrast, all three women are empowered in Haiti. Sue comments that she feels free and alive, like a ‘butterfly’. Elsewhere, this might make her the object of ridicule, she notes, aware of her plumpness, but not in Haiti where people’s difference is accepted. Brenda, we know, has found sexual satisfaction but, more than that, is seen in active pursuit

in Laurent Cantet
Tierra (1996)
Rob Stone

place at the centre of chaos theory, as if the proverbial butterfly were somehow aware of the typhoon that might be caused by its fluttering wings and is frozen by its conscience, thereby falling to Earth just like Ángel. In Tierra, however, the infinite choices thrown up by all these contradictions, doubts and imaginings come down to a simple election between two women: Ángela or Mari. Mari wins out at the film’s conclusion, which provides a tenuous and temporary balance, but mostly suggests irritation with solipsism and a reaction against the existentialist headache

in Julio Medem