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Sam Rohdie

‘Domingo’). They are phantoms: ‘Je m’appelle Nana.’ ‘Moi, Dimanche.’ As Nana and Domingo, they make love. They are not ever not themselves nor ever quite themselves either. After the phone call, a series of images is projected of what Nadine might look like and the situations in which Carlos might find her: at a café, walking, carrying books, coming home. Each of the images are of

in Montage
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Brian McFarlane

having trouble settling to suburban life with wife Kate (Lesley Brook) after time in Germany. Attached there to a Displaced Persons camp, he had fallen in love with one Moura (Adina Mandlova), whom he erroneously believed to be a princess. When he returns to a post in Germany, he re-meets Moura, who persuades him to go home, urging: ‘Our being separated is a burden to be shared by both of us, and, in sharing it, we cannot ever be separated.’ After more of such talk, he can at last write to Kate: ‘This time, darling, I’m coming home because I want to

in The never-ending Brief Encounter
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Viv Gardner and Diane Atkinson

affirmative. Luckily none but “Have you ever been in Prison?” concerned me, which I proudly answered “Yes, for Women Suffrage”. Coming home from Christian Science Church one evening I saw the first Zeppelin over London,19 floating like a huge silvery electric blue cigar, at intervals dropping bombs. I felt a thrill of exultation at my countrymen having created this graceful, majestic thing, and deep revulsion at their prostituting it in the destruction of their fellow creatures,20 which it was brought home to me very forcibly, women possessing political power would never

in Kitty Marion
Ian Scott

's veteran status from the war is held up as a clear motivation for his disenchantment. The film provides alternative succour to other movies – Coming Home , The Deer Hunter – as to what the war's and homecoming's real legacy was. An end montage sequence envisages Cathy travelling the length and breadth of America, searching its soul before returning to Simmons's farm and Rachel, hoping to instil something in the young girl – hope, providence – while still surrounded by rancour and recrimination. An economy propped up by the Wall Street boom that had burst in

in The films of Costa-Gavras
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

, because I’m from León]. Yet in a reunion with Basque actors from Vacas –​Txema Blasco and Kandido Uranga, with whom he will make a film within the Basque film that is the postmodern Baztán –​Gómez admits to ‘un sentido de relajo, de estar a gusto por dentro, como volver a casa, y es que hace veinticinco años que no volvía desde que hicimos Vacas, ¿no?’ [a feeling of relaxation, of feeling good inside, as if I were coming home, and I haven’t been back here since we made Vacas twenty-​five years ago, right?]. Blasco and Uranga good-​humouredly tease him about his non

in Performance and Spanish film
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Volver
Ana María Sánchez-Arce

, the dim back rooms’ (2009: 457). This description encapsulates the complexity of Volver , a film that can be read on many levels, from a naive enjoyment of its relationship to Spain’s Españoladas tradition and recording of local manners to an inquisitive evaluation of the problematic recycling of nostalgia and closure for family and collective history. As Smith notes, ‘“Volver” means “going back” or “coming home”. And [… it] stages at least six returns: to comedy, to women, to his native La Mancha, to his actress-muses Carmen Maura and Penélope Cruz, to the theme

in The cinema of Pedro Almodóvar
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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

story Helen feels that she is coming home – significantly at a moment when ‘death had brought the estate to life’ (Barker, 1985 : 29). The Candyman’s lair in the film is an equally maze-like – and thus Gothic – space. It transgresses the boundaries of the individual apartments (even – in a clear use of the doppelgänger trope – becoming one with Helen’s mirror-image condo) and

in Monstrous adaptations
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Socially critical movies
Chris Beasley and Heather Brook

continued, the muffled edge of socially critical films began to sharpen again. Disquiet over the Vietnam War and associated social oppression/civil rights concerns were a catalyst for more critical productions. From the late 1960s to the early 1980s a range of films offered social critiques which, compared with those of the immediate post-war period, did not shy away from ‘difficult’ or uncomfortable issues and offered much more searching critiques of dominant social values. Films like Midnight Cowboy (1969), Taxi Driver (1976), The Deer Hunter (1978), Coming Home (1978

in The cultural politics of contemporary Hollywood film
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Race and representation in recent
James Burton

positioned race and immigration somewhat to the forefront of its version of 1950s London. Initially, it appears that the macro nature of The Hour’s approach to the structural fault lines of 1950s Britain will enable a thorough examination of the racial politics, alongside the gender politics, of the era. In the first episode, once the opening narrative tide has settled, we follow the ostensible hero, Freddie Lyons, coming home from work to Notting Hill. The choice of this area for his home immediately evokes the racial fault lines characterised by the Notting Hill riots of

in Adjusting the contrast
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Chris Beasley and Heather Brook

in horror movies. And, because they are bounded by the constricted time-scale conventions of film-watching, they also provide access to both cathartic and comforting containment. The purgative wallowing in the rupture of the normal offered by horror films rarely enables any alternative social vision. Rather, they provide access to a kind of adrenaline-fuelled joyriding, with the promise of consolation available Disorder and fear 85 through the destruction of insecurity and cominghome’ – even if only temporarily. Because of our cultural politics focus, we

in The cultural politics of contemporary Hollywood film