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Room at the Top (1959)
Neil Sinyard

money with social origin and acting out precisely the kind of antagonism that was present in the scenes between Lampton and Wales. Lampton’s ruthless attempt to rise to the top – to better the Waleses of this world – at this moment finds him literally in the gutter. A child rolls a toy car towards him. He reaches towards it, almost like Lew Ayres reaching out to stroke the butterfly at the end of All

in Jack Clayton
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Genesis of Carax’s system
Fergus Daly and Garin Dowd

... [at 20] I confused my own weight with the weight of the world ... I found the heaviness of others unbearable, but perhaps it was simply all in me ... I’m not a butterfly yet, but I feel much lighter than I was.’ 21 ‘Ruiz’s characters move between life and death, their bodies suspended between heaviness and lightness, incarnation and

in Leos Carax
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John Mundy and Glyn White

2005 : 104). Recognition of the situation was strong for most middle-and working-class British viewers but few ever identified themselves in this mirror, only someone they knew. The Royle Family is, however, the highest rating example of its type at number nineteen in the 100. Other examples of British family sitcoms, including ’Til Death Us Do Part, Butterflies (1978-83) and My Family, ranked

in Laughing matters
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Robert Murphy

, misses the thrills of war, but Somers seeks tranquillity and a reaffirmation of his humanity. He finds salvation not with the deceptively placid English gentleman whose butterfly collection he catalogues, but with a supposedly mad girl (Jean Simmons) suspected of murder. Similarly, Philip Davidson (John Mills) in The Long Memory is restored to humanity by a Polish refugee whose awful wartime experiences more than match the

in European film noir
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Film, history and the Spanish Civil War
David Archibald

. Commenting on two films set during the civil war or in its immediate aftermath, La lengua de las mariposas/Butterfly’s Tongue (Cuerda, Spain, 1999) and El portero/The Goalkeeper (Suárez, Spain, 2000), for instance, Paul Julian Smith notes that the treatment of the subject has often been trivialised. (2007: 6) Yet, despite producing films of varying levels of insight and political engagement, the civil war continues to attract filmmakers’ attention. Other more recent notable additions to the corpus of civil war films include La hora de los valientes/A Time for Defiance

in The war that won't die
Myths of the global and global myths (Star Trek)
Geraldine Harris

the spectacle of alien female dancers in revealing costumes, gyrating and catching butterflies with their lizardlike tongues. Diegetically, this objectification of alien ‘otherness’ may be explained by the fact that aliens are portrayed from the perspective of the human crew, who are encountering them for the first time. As such, there is an effort to render ‘strange’ ‘familiar’ species like the Vulcans and the Klingons, and emphasis is placed on failures of understanding through cultural difference. Yet in the incidences of sexual objectification cited above, the

in Beyond representation
Barry Jordan

children. The long delay also gave him time to double-check his shooting schedule for his first ever English-language film, improve his own command of English and even write the scores for Cuerda’s La lengua de las mariposas (Butterfly Tongue, 1999) and Mateo Gil’s Nadie conoce a nadie (Nobody Knows Anybody, 1999). Apart from the delays, the generally mechanical and laborious process of shooting the

in Alejandro Amenábar
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Derek Schilling

’s cuts, Deschaumes is cast as a foe of the environment in league with Parisian bureaucrats. He loses his campaign, and the young journalist moves on to other pursuits. Critics were sharply divided by Rohmer’s approach to politics, which amounted to defending no one thesis or party line, but weighing the discourses of each. While some, pointing to the film’s irreverent portraits of technocrats and society butterflies, placed

in Eric Rohmer
Martin O’Shaughnessy

characters’ perceptions of nature. While Mme Dufour and her daughter are moved by a sentimental pantheism and drawn to cherry trees and caterpillars that turn into butterflies, their menfolk see a river full of predators and prey. The darker view triumphs when the sentimental attitudes of Henriette leave her open to the predatory behaviour of Henri, something that is brought out with cruel force when the nightingale, that symbol of

in Jean Renoir
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal
David Forrest and Sue Vice

he said we ain’t interested in size of crumbs, or even slices of cake. We want bakery, he said, so that we can determine the sort of cake that’s to be baked. (104) Ronnie’s act of taking one of the ‘butterfly buns’ meant for others is thus one with a comically rendered revolutionary potential. Soon after their gardening tasks are finished, the boys of 5G1 are summoned during a woodwork class to put out chairs for the prize-­ giving, interrupting a different kind of unvalorised activity: ‘I want to get on with my table: I’ll never get it finished!’, as one pupil

in Barry Hines