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Truman Capote, Breakfast at Tiffany‘s and Hollywood
Peter Krämer

This essay examines some of the literary and biographical models Truman Capote drew on in the creation of Holly Golightly, the heroine of his 1958 novella Breakfast at Tiffany‘s. Making use of Paramount studio records, the essay also explores the complex process of adapting the story to the big screen. Numerous changes were made so as to transform Capotes story into a romantic comedy, and thus to contain Holly‘s liberated sexuality while also erasing any doubts about the male protagonists heterosexuality. Casting Hepburn as the female lead helped to neutralize Holly‘s sexual transgressiveness, and it sexualized the stars ethereal persona.

Film Studies
Essays on the Jodie Whittaker era

This book explores a new cultural moment in the history of the BBC TV series, Doctor Who: the casting of a female lead. Following the reveal that Jodie Whittaker would be the thirteenth Doctor, the series has been caught up in media and fan controversies – has it become ‘too political’? Has showrunner Chris Chibnall tampered disastrously with long-running continuity? And has the regendered thirteenth Doctor been represented differently from her predecessors? Analysing Whittaker’s era – up to and including Doctor Who’s responses to 2020’s first lockdown – this edited collection addresses how the show has been repositioned as a self-consciously inclusive brand. Featuring brand-new interview material with those working on-screen (series regular Mandip Gill and guest star Julie Hesmondhalgh) and those operating behind the scenes in crucial roles (Segun Akinola, composer of the current theme and incidental music), Doctor Who – New Dawn focuses on how the thirteenth Doctor’s era of spectacular TV has been created, and how it has diversified representations of queerness, race, and family. Moving beyond the television show itself, chapters also address fan responses to the thirteenth Doctor via memes, cosplay, and non-Anglophone translation. Finally, this collection looks at how the new ‘moment’ of Doctor Who has moved into gendered realms of merchandising, the commercial ‘experience economy’, and a paratextual neo-gift economy of Covid-19 lockdown reactions that were created by previous showrunners alongside Chris Chibnall. A vigorous new dawn for Doctor Who calls for rigorous new analysis – and the thirteen chapters gathered together here all respond adventurously to the call.

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Addressing intersectionality in the casting and performance of Chris Chibnall / Jodie Whittaker era Doctor Who
Christopher Hogg

undoubtedly been casting, initially focusing on Whittaker then subsequently on the choice of Mandip Gill and Tosin Cole as the Doctor’s new companions, and more recently during the run of series 12 on the reveal of Sacha Dhawan as the Master and Jo Martin as a hitherto unknown black female incarnation of the Doctor. As Lorna Jowett’s ( 2014 ) work on Doctor Who and gender emphasizes, the show’s casting has been a long-standing point of critical attention and contention, in both popular and scholarly contexts. However, the

in Doctor Who – New Dawn
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Brian McFarlane

Incorporated Television Company (ITC). Perhaps the most significant name among these is that of Carlo Ponti, who was married to Sophia Loren. If you want to make a touching drama about love and renunciation in a quiet English setting, you’d perhaps think twice about casting as the leads an international sex symbol and a noted lothario: ‘gloriously miscast’ as they were described in the obituary of Rosemary Leach who had a supporting role in the telefilm. 1 Intertextuality matters when watching a film: we can’t put aside all the information we bring

in The never-ending Brief Encounter
Open Access (free)
Melanie Williams

straightforward statement of social protest on the part of its makers, which is partly due to the casting of Diana Dors, a notorious and flamboyant British film personality of the 1950s, in the role of Mary Hilton. Hailed as the only sex symbol Britain has produced since Lady Godiva, Diana Dors was a precocious teenager who had made her first film appearance at the age of 15 as a spiv’s mistress in The Shop at

in British cinema of the 1950s
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Modernity and the cinematic past
Peter Buse, Núria Triana Toribio, and Andy Willis

4795 CINEMA - PT/gk.qxd 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 12/1/07 10:04 Page 119 5 La comunidad (2000): modernity and the cinematic past 4795 CINEMA - PT/gk.qxd 12/1/07 120 10:04 Page 120 The cinema of Álex de la Iglesia Goyas, casting, acting If it is a reliable law of European film production that commercial and critical success rarely go hand in hand, then La comunidad (2000) provides an interesting case study. De la Iglesia’s fifth feature film was seen by 1

in The cinema of Álex de la Iglesia
Open Access (free)
Kerry Kidd

which leaves them with nowhere else to go. On the other hand, in both form and theme the film is consciously melodramatic, casting Helen Allistair as the villain of the piece whose abuse and exploitation are eventually appropriately punished. As a consequence the film clearly and honestly depicts contemporary abuses, but seems unsure whether to blame respectable social prejudice, more simplistic

in British cinema of the 1950s
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Beth Johnson

able to go because of lactating breasts’. Linda is determined to stay as she is, in the community in which she has been brought up, with the friends who she has known from school, doing the same job that she has done since leaving school. Linda Green/Liza Tarbuck Liza Tarbuck, the female star at the heart of Linda Green, was inspired casting in terms of situating Linda as a believable, sassy, naive and yet wholly convincing character. Having acted in the Granada comedy Watching (1987–93), as well as being known for her television-presenting roles on She’s Gotta Have

in Paul Abbott
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New Dawn, new moment
Brigid Cherry, Matt Hills, and Andrew O’Day

When officially promoting series 11 of BBC Studio’s Doctor Who , a brief teaser featured the tagline ‘It’s About Time’. In part, this self-consciously referenced the programme’s history: a similar slogan (‘He’s back … and it’s about time!’) had been used to market the show’s return in 1996, with Paul McGann playing the new Doctor on that occasion. But the highly self-reflexive advertisement in 2018 surely traded on Jodie Whittaker’s casting as the first female incarnation of the Doctor, just as another 20

in Doctor Who – New Dawn
Barry Jordan

of the story. I also explore key aspects of casting and performance, a crucial area in a film whose real-life case was still sub judice when it was made. I then compare Amenábar’s big-screen version with a Spanish television movie version made three years earlier, which seems to have been forgotten. And, after analysing certain features of narrative technique and film style, finally I explore briefly several aspects of the media

in Alejandro Amenábar