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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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Order and disorder
Chris Beasley and Heather Brook

of power, involving and justifying domination. These contemporary uses display a scepticism towards binary or other categorical distinctions between, for example, men and women, colonisers and colonised, and insiders and outsiders. This is not intended to ignore, downplay, or collapse differences but rather to complicate them, to acknowledge the interdependence and co-constitutive character of categories, and most importantly to refute the self-evidence of hierarchical relations between them (see for instance, Alison Mountz (2009)). 8 This mobilisation is

in The cultural politics of contemporary Hollywood film
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
Martin O’Shaughnessy

, rural myths become more prevalent (Short 1991 : 30). For a country increasingly dominated by big business and with large-scale unemployment, evocation of the rural allowed a return to simpler, more innocent times and the reaffirmation of foundational values. A focus on the tight-knit social bonds of the rural helped Americans to reimagine a sense of community and interdependence in a modern world increasingly characterised by

in Jean Renoir
The punk scene in Munich, 1979–82
Karl Siebengartner

like I did) so you can’t recognize them as punks anymore. By the way, you’ll recognize me as ONE OF THOSE. … We know each other too little.’26 Within the scene, fixed patterns of clothing soon became dated, indicating the incompleteness of self-formation. Individual style and punk characteristics were never fully compatible, despite their interdependence. As a result, attempts by individuals to integrate into the wider punk scene could lead to conflicts of punk identity. This, in turn, sometimes provoked fights over interpretations of the punk self. The scene was

in Ripped, torn and cut