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Steven Peacock

self-contained community – hospital, school, office, publishing house, nuclear power station – where, particularly if the setting is residential, the characters often spend more time with working colleagues than they do with their families, the irritation that can emerge from such cloistered and unsought intimacy can kindle animosity, jealousy and resentment, emotions which, if they are sufficiently strong, can smoulder away and eventually explode into the destructive finality of violence. The isolated community can also be an epitome of the wider world outside and

in Swedish crime fiction
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Victoria Best
Martin Crowley

Is Comedy (2002) is mostly a reflection on the power struggles and other relationships involved in filmmaking, specifically the filming of scenes of intimacy, and reprises key scenes from A ma sœur! . Nor are the two groups mutually exclusive: the first is, if anything, a subset of the second. Breillat is also an author: indeed, she was a published author before she was in her twenties, and had already published four

in The new pornographies
Celestino Deleyto

matter what compromises and limitations it may have been subjected to, has found it easier to provide a platform from which to ‘translate’ recent cultural developments in the field of intimacy and sex into filmic texts. Among these cultural developments, I would like to mention the predominance of a female point of view on intimate matters, the growing preference for friendship over love, especially among female romantic

in The secret life of romantic comedy
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Bill Marshall

town, ‘La Salamandre’. The name, meaning ‘salamander’, the amphibian which in popular myth can live in flames, also refers to a brand of slow-burning gas heater which was widely sold in France in the late nineteenth and early twentieth centuries. Hélène invites Gilles to visit, an intimacy he initially refuses, and when they are temporarily installed there, the dialogue emphasises, ironically, how freezing cold it is. At the high point of their relationship, Hélène returns from a brief trip to her Paris solicitor as ‘Deneuve’, radiant, her hair loose, bereft of the

in André Téchiné
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Encountering difference
Julia Dobson

universalised) desire and mediator of an unacknowledged desire between the two men. 8 Vernoux stated that her principal focus was the vulnerability of the male characters and that she felt least affinity with the character of Marie (Vernoux 1998 : 23), indeed the opening scene described above establishes the two men as the primary couple, framed together in the intimacy of the car interior. Vernoux’s Marie is

in Negotiating the auteur
Nigel Mather

instance of this English unease at matters of physical and emotional intimacy comes when Eliza gives the mildest of kisses to a hapless suitor outside the professor’s house, and is immediately reprimanded by a police constable, who informs the couple, ‘This isn’t Paris!’ Wartenberg suggests that ‘ Pygmalion ’s men are either bachelors or dolts, so that Eliza is left without the possibility of genuine

in Tears of laughter
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Women, domesticity and the Gothic adaptation
Helen Wheatley

: by bringing the narrative of domestic fear and paranoia back into the home from the late 1940s onwards, the closeness between the threatened heroine and the viewer of the text is reestablished or intensified on television, as a domestic medium. Playing on television’s sense of intimacy, female Gothic fictions made for this medium are re-domesticated, and consequently emphasise the dual anxieties of

in Gothic television
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A creative ethnography of loneliness
Sean Redmond

formed ‘neo-tribes’, and just-in-time-consumption demands that seem to govern all aspects of people’s lives, including love and intimacy ( 2000 ). Bauman describes this state of existence as liquefied, since individuals seem to be constantly swimming against a rising tide of systems and practices that prohibits them from mooring or anchoring. The precarious workplace and the rise of zero

in The loneliness room
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The construction and destruction of the couple
Richard Rushton

kindness and tenderness, as though these were some of the happiest and most rewarding memories of Demy's childhood. Time spent in close proximity to his mother while she undertook those tasks of domestic labour: such tasks delivered some of the great memories of his life. And such memories are specific to the mother, for the father was often at work and thus distanced from these intimate family moments. I cannot see any other way to interpret these scenes other than to declare that Varda presents them as wonderful moments, as memories of the intimacy and delicacy of

in Modern European cinema and love
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Loneliness in cinema
Sean Redmond

movie-watching makes it essentially solitary. Cinema patrons enter their imaginations as soon as the film starts, and in the flickering darkness their mood-state is theirs alone (Metz, 1982 ). Patrons also carry their loneliness into the cinema with them. They may use film as an escape from their lonely lives, or as a form of parasocial intimacy, establishing imaginary bonds with the characters, or with

in The loneliness room