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The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González
and
Susan Lord

of cultural citizenship, diaspora, revolutionary legacy and globalisation, and they do so through what we call ‘deterritorialised intimacies’. These intimacies are afforded by their documentary practices of decolonised ethnography: a set of aesthetic and ethical documentary strategies that are expressive of historical and emotional geographies of belonging and non-belonging for the filmmaker, subject

in Hispanic and Lusophone women filmmakers
From laugh track to commentary track
Leon Hunt

3885 Cult British TV Comedy:Layout 1 14/12/12 07:53 Page 128 5 Community and intimacy: from laugh track to commentary track According to Andy Medhurst, ‘Comedy says to us: you’re among friends, relax, join in’ (2007: 19). While proponents of more confrontational or ‘experimental’ forms of comedy might challenge (or at least qualify) this proposition, it seems safe to accept that comedy does require some sense of belonging. The nature of this belonging might vary hugely, along lines determined by nation, class, ethnicity, gender, sexuality and age. It might

in Cult British TV comedy
Marion Schmid

-hearted subject matter of love and intimacy (even if inflected in a negative key). And yet, desire, love and relationships have played an important part in many of her works, ever since the rebellious Saute ma ville with its suggestions of an unhappy adolescent infatuation. Whilst in the work of the 1970s, mutual, fulfilled love is largely presented as an absence or an impossible aspiration in the life of protagonists condemned to a

in Chantal Akerman
Steven Peacock

This article offers an alternative to the predominant and pervasive theoretical approaches to discussing time in film. It adheres to ordinary language, and moves away from a ‘mapping’ of theoretical models or contextual analysis to concentrate on a films specifics. It considers the particular handling of time in a particular film: The Age of Innocence (Martin Scorsese, 1993). Fixing on specific points of style, the article examines the interplay of time and gesture, and the editing techniques of ellipses and dissolves. Both the article and the film hold their attention on the intricacy and intimacy afforded by moments, as they pass. Both explore how the intensity of a lovers relationship over decades is expressed in fleeting passages of shared time. In doing so, the article advances a vocabulary of criticism to match the rhetoric of the film, to appreciate the works handling of time. Detailed consideration of this achievement allows for a greater understanding of the designs and possibilities of time in cinema.

Film Studies
Abstract only
Rachel Moore

With the enormous span of time embedded in the very grain of the celluloid, old films and footage touch, in a sensate way, the strange and familiar longing for the archaic past which lies at the heart of the modern dilemma. Walter Benjamin‘s suggestion - that when delving into the secrets of modernity, including its technology, the archaic is never that far off - grows palpable when watching film from the archives. This project could just be called, ‘Why do we love old movies?’ To begin to grasp how old films touch us, its instructive to look at how technology functions within films. The power of degraded technology to create intimacy does not go unnoticed by filmmakers today where its use extends from the avant-garde to popular cinema. To further understand such effects, this paper focuses on one way technology provokes intimacy: how people fall in love in the movies.

Film Studies
Pornography: The Musical (2003)
Catalin Brylla

Brian Hill’s musical documentaries embody the essence of Judith Butler’s notion of ‘performativity’ as the discourse used in identity formation. By asking his characters to sing their stories in addition to traditional interviews, Hill creates multiple screen identities, which elicits an embodied intimacy that is as much about freeing marginalised people to enact themselves in front of the camera as it is about revealing the director’s own performance. This article uses a cognitive framework to explore how Hill’s documentary, Pornography: The Musical (2003), leads the spectator to challenge existing social stereotypes of sex workers, as well as schematic ideas about traditional documentary form and function.

Film Studies

Humour can be theorised as integral to the genre even if there are some films that do not provoke laughter. Romantic comedy has been described as a narrative of the heterosexual couple with a happy ending in which humour does not necessarily play an important part. The comic, protective, erotically-charged space is the space of romantic comedy. This book proposes a revised theory of romantic comedy and then tests its validity through the analysis of texts, but these films must not be expected to fully embody the theory. It proposes a change of approach in two different but closely linked directions. On the one hand, a comic perspective is a fundamental ingredient of what we understand by romantic comedy; on the other, the genre does not have a specific ideology but, more broadly, it deals with the themes of love and romance, intimacy and friendship, sexual choice and orientation. The book discusses two films directed by two of the most prestigious figures in the history of Hollywood comedy: Ernst Lubitsch and Billy Wilder. Lubitsch's To Be or Not to Be became part of the canon as one of the most brilliant comedies in the history of Hollywood in so far as its romantic comedy elements remained invisible. Wilder's Kiss Me, Stupid was almost universally rejected because its satire was too base, too obscene, too vulgar. Discussing Alfred Hitchcock's Rear Window and Woody Allen's Crimes and Misdemeanors, the book attempts to move beyond the borders of comedy.

Abstract only
Sound / image
Jonathan Bignell
,
Sarah Cardwell
, and
Lucy Fife Donaldson

performance and voice, some drama conforms closely to what the television director Don Taylor ( 1998 : 38) argued was the ‘essence’ of drama for the television medium: ‘long, developing scenes, where the actors can work without interference from the director's camera’, prioritising the ways that actors’ bodies and nuances of dialogue work to express character. This aesthetic exploits the intimacy that television can offer to performance, and it is especially significant in serial forms that encourage and reward viewer engagement with characters over a lengthy span of time

in Sound / image
Brian McFarlane

Today two years later, Chris Mullins astutely noted that whereas a story of suppressed emotions might be ‘perfectly suited to the intimacy of close-ups and the relevant restraint of film acting’, 16 this is distinct from singers having to announce to the audience what they are feeling. Perhaps only a composer with so sturdy a film background would have ventured to transpose the tender subtleties of Brief Encounter into the inevitable grandeurs of the operatic stage. However, given the crucial differences in the requirements of the two media, he seems to have been

in The never-ending Brief Encounter
Abstract only
Chris Beasley
and
Heather Brook

: 365). Indeed, movies featuring male-to-male friendships are almost ubiquitous. As noted in chapter 7, there is no need for a masculine Bechdel-Wallace test. As Walt Hickey (2014b) quips, ‘[y]ou’d be hard pressed to think of a single film that doesn’t have a scene where two men have a conversation that isn’t about a woman. Plots need to advance, after all.’ What distinguishes bromances from the broader representation of male-to-male friendships in movies is that the bromance connotes an overt demonstration of intimacy. It is this recent twist towards specifically

in The cultural politics of contemporary Hollywood film