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Claire Hines

relationship, making a characteristically forthright claim for impact on behalf of them both. According to the magazine, ‘Playboy and Bond defined the male mystique for the latter half of the 20th century … The clothes, the cars, the food, the gadgets, the girls, the wit, the sensual pleasure – these things matter. The enemy was not Spectre [sic] but ennui, conformity, the daily grind.’2 This ambitious claim to influence in some way motivates this research, which examines aspects of the playboy image and lifestyle in relation to James Bond and Playboy. It is useful to add

in The playboy and James Bond
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Sam Rohdie

, takes off her coat and stands upright, immobile, her arms folded. A minute after, and through the door that Anna had entered, another girl comes in, takes off her coat in the corner and they begin to argue about lovers and constancy. Once inside the room, the sequence is substantially in one shot. It gradually becomes clear as the shot opens outwards that they are speaking lines in a play (by Marivaux: La Double inconstance) at a rehearsal

in Montage
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Sam Rohdie

this film in the sense of a prior reality and thus the film is not, in the usual sense, representational. Later, when Carlos is on the train back to Paris (to see Nadine, to see Marianne, to contact his comrades), his attention is taken by a young girl seated at a table across from him and across the aisle in the dining car. She is like the projection by Carlos imposed upon Marie when he is with her (but made absent into an

in Montage
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John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

forbidden delights of the world beyond its walls, stealing a motorcycle and meeting a Girl (Christine Noonan) in a roadside café. On manoeuvre as cadet soldiers, the three mutiny and kill their commanding officer (Geoffrey Chater). This individual is not only the school chaplain, but a sadistic teacher who abuses junior boys. The headmaster (Peter Jeffrey) summons the murdering trio to his study and lectures

in Lindsay Anderson
To Kill a Mockingbird as neglected intertext
Robin Fiddian

film narrative, Horton Foote and Robert Mulligan follow Harper Lee in the creation of a hybrid text, which is part female Bildungsroman and part Southern gothic novel. 2 To Kill a Mockingbird traces the psychological development, and privileges the perspective, of a 6-year old girl as she learns lessons in life and social relations. Pushed around by an older brother, Scout finds her liberty curtailed by him as much in

in Spanish cinema 1973–2010
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The Others and its contexts
Ernesto R. Acevedo-Muñoz

narrative and/or character arc of these films. For instance, in Erice’s El espíritu de la colmena the little girl Ana (Ana Torrent) is, quite literally, mesmerised in 1940 by the cinematic fantasy of James Whale’s Frankenstein . Ana believes that she is caring for and befriending Frankenstein’s monster. While little Ana is at first genuinely terrified by Dr Frankenstein’s creature, she comes to

in Contemporary Spanish cinema and genre
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Our Mother’s House (1967)
Neil Sinyard

Truffaut, New Yorker , 20 February 1960) Jack Clayton described Our Mother’s House in the following way. ‘It’s a story about children with no father, and so religious that when their mother dies they decide to bury her in the garden. They succeed in existing for six months until the father, who was no good anyway, appears and one of the girls kills him with a poker. It sounds

in Jack Clayton
Philip Gillett

by hindsight. Neighbourhood referred to the surrounding district which inhabitants knew intimately. Particularly for women, most journeys outside the home were made on foot, so that the neighbourhood would not extend beyond easy walking distance of the front door: ‘The Cockney fellow’s street was his kingdom, and not lightly trampled on by outsiders. Even we small girls felt the bristling pride in belonging

in The British working class in postwar film
Russ Bestley and Rebecca Binns

precursors and peers. This anarcho-punk discourse was also articulated reciprocally through a conversation between the zines and bands such as Crass and Poison Girls. The concerns expressed in Gee Vaucher’s designs for Crass were embodied in the aesthetic accompanying the subgenre; the younger punk demographic of zine creators and authors further built on an established audience and ready-made distribution and manufacturing networks that were pioneered by the previous punk generation, who in turn had been supported by their subcultural predecessors. ANOK4U The notion of

in Ripped, torn and cut
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Sarah Wright

arrested by the sight of a pair of legs belonging to a girl walking on her hands. The legs appear above some bill boarding whilst the rest of the child’s body is, for the moment, hidden. The child who emerges on the other side is dressed in a red coat and she twirls in the snow before resting her gaze on Álex. He is attracted by this child’s ‘otherness’, her difference, her originality, her selfabsorption and her capacity for play (all attributes of ‘childhood’ in the collective imagination). We were all children once, as Julia later reminds him, but as Álex

in The child in Spanish cinema