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Capitalism, industry and the mainstream
Nick Crossley

forged if it is to do so indirectly. This social relationship may take a number of different forms, but whatever form it takes will generate interdependence and thereby a power balance between artists, support personnel and those to whom they supply musical services. And this power relationship will influence the music. The professional musician can only make a living from music which others are prepared to pay for and is therefore constrained by others’ tastes. In this chapter, I explore this interplay between resources, power and musicking. In

in Connecting sounds
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Making sense of conflict
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya, and Janna Graham

global conflicts on the repertoires of understanding available to media audiences in Italy and the UK. In 60 War narratives: making sense of conflict a moment when the power and reach of European nations is shifting and the terms of mutuality in the international community are under question, the ways we understand conflict, international responsibility and interdependence impact directly on how migrants are viewed and received. Here we consider the framing of international conflict in the news and other media sources and the interplay between this media experience

in How media and conflicts make migrants
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Lucía y el sexo (2001)
Rob Stone

about authorship and designed to maximise his auteurist status in an international market. It delivers a complicated muddle of subjectivities rather than the geometrical exactitude of Los amantes del Círculo Polar and the fact that the subjectivity of Lorenzo, the author, should ultimately prove itself dominant corroborates the trend of Medem identifying with (and being identified with) his male protagonist. At the heart of Lucía y el sexo lies this complex interdependence of Medem and Lorenzo that has parallels in the relationships of the writer and the reader, the

in Julio Medem
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Derek Schilling

In the narrative cinema, style is often assumed to lie on the side of visible excess. It is the domain of the provocateur, the virtuoso, the formalist, the mannerist. This chapter presents the interdependence of film style and technique in the director's pursuit of cinematographic realism. It explores how sound and image are configured, and to what effect. And what is the production process envisaged from screenplay to shoot. In addressing cinematography, mise en scène, sound design, and music in synoptic fashion, the chapter shows why Rohmer's deceptively prosaic mode of presentation is ultimately so effective in sustaining and critiquing cinematic illusion at one and the same time. The filmmaker's practice runs slightly against the grain of the institutional mode of representation (IMR), prompting viewers to listen and look at the texture of a film and question assumptions about how film language works in its classical and modernist guises.

in Eric Rohmer
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Looking to pastures new
Ben Lamb

number of intricate narrative strands’ (Creeber 2015 a: 21). In The Killing , for example, there are ‘the crime plot’, involving the brutal rape and murder of a young girl; ‘the political plot’, set in motion when a local politician becomes a major suspect; and ‘the family plot’, focusing on the murdered girl’s friends and family. Lastly, a ‘theory of interdependence’ philosophically underpins the

in You’re nicked
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Kate Ince

political perspectives takes place against the backdrop of societies quite unlike that looked upon by any previous generation of film spectators. We live in a media-saturated age in which political progress is visibly hampered by the increasing interdependence, and yet differing degrees of autonomy, of nation-states on a global stage. Western societies are increasingly marked by a loss of the collective at the level of local

in Five directors
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Catherine Constable

has an end also has a beginning. However, Neo’s submission Constable_01_Text.indd 143 4/3/09 14:36:01 144  Adapting philosophy to Agent Smith is more than a reversal and more than a replay of the role of object, because it brings about a new mode of relation between the two antagonists. The presentation of Neo’s ecstatic expression during the final embrace with Agent Smith, recalls his relation to Trinity. This takes the form of an inter-dependence that reverses and surpasses subject/object opposition. The new relation between Neo and Agent Smith fundamentally

in Adapting philosophy
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Derek Schilling

intertexts and artistic principles his films put into play, Chapter 2 reviews the abundant critical writings Rohmer published in France from the late 1940s to the early 1960s. That exploration leads up to the discussion in Chapter 3 of the interdependence of film style and technique in the director’s pursuit of cinematographic realism: how are sound and image configured, and to what effect? How is the production

in Eric Rohmer
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Scott Wilson

should be understood, in the sense introduced by Deleuze and Columbine 141 Guattari, as a form of symbiotic sympathy and interdependence (1988: 232– 9). Though there is no reason why such interdependence should not also include antagonism. For Deleuze and Guattari, becoming does not involve a process of imitation, resemblance or identification. Nor does it imply an evolution in the sense of evolution by filiation or descent. It is not a question of humans evolving into computers, or of computers displacing human beings on some evolutionary ladder. Rather, ‘becoming

in Great Satan’s rage
Fettered geographies, unsettled histories and the abyss of alienation in the work of three Spanish women filmmakers
Parvati Nair

men’s part, these women allow them a lifeline into the future for themselves and their families (Nair, 2002 ). Ironically, then, the sole route to survival for the outlying community is through a difficult, if necessary, embracing of alterity. A curious interdependence emerges where the economic layers itself over the human and the communal. Through this jagged encounter, deep social and cultural

in Hispanic and Lusophone women filmmakers