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Brian McFarlane

original play, I am struck by how much more imaginative David Lean’s treatment of its plot is in the film. The play, confined to the single setting of the railway buffet, is entirely linear in its approach, beginning with some rather patronisingly presented class-based comedy in the lower-orders exchanges between members of the railway staff: the ‘refained’ Myrtle Bagot in charge of the buffet, keeping the ticket inspector Albert Godby and her assistant Beryl in their places. Their badinage is interrupted when middle-class Laura, who has been quietly sitting over her cup

in The never-ending Brief Encounter
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James S. Williams

of Leos Carax (see ‘nods and winks’ above). Yet what precisely does it mean for Godard to enter into contact with Cocteau by rehearsing a moment of resurrection? To replay an almost generic sequence from Cocteau and then reproject it is effectively to hand him back the flower and thus participate in that magical exchange of objects by men (guns, gloves, etc.) which, as we saw in Chapter 6 , is such a distinguishing feature

in Jean Cocteau
Michael Temple

that he would gain more than he would lose from the exchange, if he let Simon do things his own way: Je l’ai surtout vu dans ma loge, quand il venait pendant le spectacle, au théâtre du Gymnase. Je lui racontais des histoires vaudoises et c’est là que, petit à petit, le personnage de L’Atalante s’est dessiné. Dans ma loge, parce que je

in Jean Vigo
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Derek Schilling

inclination towards the second suggests that compatibility alone is not enough. As the cycle develops, the hero’s relationship to the first woman seems to reflect increased levels of attachment. When action opens, the protagonist of La Boulangère de Monceau has yet to exchange a word with Sylvie, while in the next instalment Bertrand is already part of Suzanne’s circle of acquaintances; in La Collectionneuse

in Eric Rohmer
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Un prophète and Dheepan
Gemma King

occupiers of positions of power – are each at the mercy of an interpreter). Or they may be amateur, unofficial exchanges, such as in Welcome, in which the Kurdish immigrant Bilal interprets for his monolingual Kurdish-speaking friend and his French acquaintance, using their only shared language, English. The conditions of these contrasting interpreting scenarios are clearly disparate, ranging from the official to the improvised, yet each of these films centres on the role of ‘a cultural mediator in the form of an interpreter’ (Archer 2010: 4). Likewise, the characters in

in Decentring France
Sue Harris

passively at a safe distance, but rather as exchanges with the spectator, where he or she is cajoled into a critical exchange, appealed to as a complicit participant in the ongoing action. Blier first experimented with this technique in Hitler, connais pas!, in which he used the narrative mechanism of the interview to allow eleven young people to talk about themselves and their experiences, filming them direct to camera, mostly in

in Bertrand Blier
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Felicity Chaplin

Benjamin’s idea of ambiguity and Georg Simmel’s idea of the ‘purely momentary’ nature of a monetary exchange of prostitution, Hollis Clayson argues that the nineteenth-century prostitute ‘is the living embodiment of the cold cash nexus but is ambiguous, evanescent and transient as well’ (8). Russell Campbell notes that cinema adds another layer of ambiguity to the prostitute: ‘If in life it is sometimes difficult to define just what constitutes a “prostitute”, it is even more so in the cinema, which often thrives on a tantalizing ambiguity’ (6). In order to limit the

in La Parisienne in cinema
Michael Leonard

cinematographer and his subject. Les Hautes Solitudes exchanges the topography of the desert for that of Jean Seberg’s face, which it explores repeatedly, privileging close-up shots of her. The sequence-shots that defined the previous films are replaced by static framing, with occasional short panning movements. The conversations between Seberg and Garrel, mentioned by Morice, are evident during shots where she can be seen addressing Garrel behind the camera. Sometimes she smiles at him but on other occasions she reveals sudden oscillations in mood, from elation to despair

in Philippe Garrel
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Andy Birtwistle

numbers, and ultimately to the one, becomes an illusion’ (Adorno and Horkheimer, 1997 : 7). Considered within the context of political economy, identity thinking proves highly problematic, since according to Adorno everything in bourgeois society becomes reduced, and reducible, to an exchange value, processed by the monetary code through which equivalence is ensured. Issues of political economy are indeed relevant to a

in Cinesonica
Nigel Mather

These two extracts of dialogue from The Alf Garnett Saga and Love Thy Neighbour provide a sense of the films’ controversial and outspoken attempts to dramatise issues of race and colour by way of allowing a free flow of racist insults and innuendos to be perpetuated by the central (and, on occasion, by the subsidiary) characters of the narratives. The exchanges between these various figures are based around a level of

in Tears of laughter