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Sam Rohdie

Time Tout le passé est nécessaire pour aimer le présent. (The entire past is necessary in order to love the present.) Annie Ernaux20 There is no single narrative to films by Bernardo Bertolucci, none that follows (or traces) a progressive, chronological line. For the most part, his films begin in a present already past or a past yet to be, but in dissolution, a future or a present becoming past, and becoming the past instantly, as each time is made apparent, and apparent at the same time. Each and every time contains other times, the multiplicities of time

in Film modernism
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Gender, anti-Semitism and temporality in medieval biblical drama
Author: Daisy Black

This book produces an important re-theorisation of the ways gender, time and Judaism have been considered in late medieval biblical drama. It employs theories of gender, performance, antisemitism, queer theory and periodisation to complicate readings of early theatre’s biblical matriarchs and patriarchs. It argues that the conflicts staged by these plays provide crucial evidence of the ways late medieval lay producers, performers and audiences were themselves encouraged to question, experience, manipulate and understand time. Interrogating medieval models of supersession and typology alongside more contemporary models of ‘queer’ and topological time, this book charts the conflicts staged between dramatic personae in plays that represent theological transitions or ruptures, such as the Incarnation, Flood, Nativity and Bethlehem slaughter. While these plays reflect a Christian preoccupation with what it asserted was a ‘superseded’ Jewish past, this book asks how these models are subverted when placed in dialogue with characters who experience alternative readings of time.

Jacqueline Furby

This essay deals with the temporality of film through an examination of narrative, structure and image in Sam Mendes’ film American Beauty (2000), referring to both Gilles Deleuze and Henri Bergson‘s work on time. I argue that the repetition of formal elements (images, settings, colours, shapes, and textures) creates a kind of internal rhyme that is suggested appeals to human aesthetic rhythmic sensibilities and invites the spectators imaginative interplay. This temporal pattern speaks of a particularly human rhythmic design, and provides an escape from the ‘standardised, context free, homogeneous’ clock time ‘that structures and times our daily lives’.

Film Studies
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Rethinking the Familiar in Steven Soderbergh‘s The Limey
Lee Carruthers

This article complicates the notion that Steven Soderbergh‘s films are simply a refashioning of familiar materials, as evidenced by his ongoing appropriation of classical Hollywood and the European art cinema. Through a close analysis of The Limey (1999), this essay argues that Soderbergh‘s film interrogates the idea of familiarity, as such, beginning with the perceptual experience that it generates for viewers. With reference to Victor Shklovsky‘s notion of defamiliarization as well as Martin Heidegger‘s formulation of temporality in Being and Time, this discussion proposes that Soderbergh‘s reiteration of the filmic past can be seen as a meaningful event for film-critical practice that sheds new light upon issues of filmic temporality and film history.

Film Studies
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Alison Smith

narrative, no name, background or reason for existence. He connotes fairground fantasy. The conjuror possesses a power of transformation which presents itself as magic while relying on the spectator’s complicity and suspension of disbelief, and it is this attitude to the forthcoming film which his appearance as announcer of the credits seems to require. After the credit sequence, we are allowed for quite some time to forget the existence

in Agnès Varda
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Don Fairservice

, he comes obliquely towards the camera and leaves the frame close to camera right. For all its lack of sophistication, Buy Your Own Cherries contains evidence of a carefully judged sense of pace and timing that was beginning to enter some films made from this time. What is noticeable, however is that, whereas we understand the order of the scenes to be chronological, the film makes no distinction between events that follow

in Film editing: history, theory and practice
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The unconsoled in Rivette’s late works
Douglas Morrey and Alison Smith

story’ (Porton 2003 : 15). Rivette’s film dutifully ‘quotes’ much of the iconography of the fantastical genre, as classified by Jean-Louis Leutrat in his 1995 volume Vie des fantômes : there is an omnipresent, and very jittery, cat, named Nevermore with a nod to Edgar Allan Poe’s ‘The Raven’; clocks tick and chime throughout the film – Julien (Jerzy Radziwilowicz) repairs antique time pieces and his home is full of these

in Jacques Rivette
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Queering the Nativity in the Towneley Second Shepherds’ Play
Daisy Black

This voice, wanting and unfulfilled in the now as it is conventionally construed, this voice whose desire requires, even demands, another kind of time beyond such linearity, empty and homogenous, is a queer voice. 1 MAK:   And ilke yere that commys to man She bryngys furth a lakan, And some yeres two. 2 Carolyn Dinshaw’s ground-breaking work How Soon is Now? provides an insight into how it might feel to be an anachronism in the Middle Ages. Identifying ‘forms of desirous, embodied being that are out of sync with the ordinary linear

in Play time
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Peter Marks

, Gilliam set out to write a film with general appeal. Over a weekend he came up with the basic concepts and characters of Time Bandits , a treatment he pitched theatrically to Denis O’Brien. O’Brien was won over by the performance, but initially was unable to raise finance for the project from outside sources. Hand-Made decided to finance the film itself, a move that involved O’Brien and George Harrison

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

the latest diegetic and performative developments under Chibnall is that not only does the Doctor speak with a clear northern English accent, so too do two of her regular companions, along with relocating the Earth-based narrative centre of the show for the first time from London to Sheffield. Such a shift is identified as noteworthy by all three of this chapter’s interviewees. Pryor, for instance, in discussing his work in casting series 11 and 12 of Doctor Who , states that [Chris

in Doctor Who – New Dawn