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Steven Peacock

impressionistic portrait of Malmö, a view from the bridge. In the story ‘Savage City, Cruel City’, Lundberg connects the bridge’s associations of suspension and fluid exchange with the social and psychological states of his characters. His criminal has ‘offered to transport goods from Poland to Sweden’ while his detective – Nils Forberg – ‘has crossed several boundaries in the course of his life … Now he was in a gray zone, neither alive nor dead, and yet – a bit of both’.160 While Lundberg extends into overt social commentary – calling Malmö ‘one of the larger suburbs of

in Swedish crime fiction
Martine Beugnet

multitude of lives, of realities, and several time zones seem to collide or to overlap. Through editing, a multiplicity of connections are created without strict chronology and the necessities of explaining or justifying a scene: there are always potential exchanges of gazes, closeness between characters suggested through graphic cuts 20 and apparent eye line match 21 rather than dialogues or actions. J’ai pas sommeil

in Claire Denis
Un Condamné à mort s’est échappé, Pickpocket and Le Procès de Jeanne d’Arc
Keith Reader

, qui le dites’ 15 – constructs Blanchet as Paraclete and annunciator, spiritual comforter and bearer of transcendental tidings. Once again, the bizarre conditions and systemic role-reversals of the prison environment make this exchange readily accessible to a non- transcendental reading. Un Condamné can be viewed as a ‘spiritual realist’ film in the sense in which the films of Carné and Prévert are often described as

in Robert Bresson
Douglas Morrey

determined in relation to other events with which it enters into circulation, taking on meaning only insofar as it is defined in opposition to other events, as that which it is not. This is precisely the law of capital , the way that objects are ascribed an exchange value in order to be circulated within the capitalist system. Things, and indeed people, can only enter the circuit of capital to the extent that their difference is

in Jean-Luc Godard
Douglas Morrey

shoulder of another. The sequence also follows a fairly classical development, beginning with an exchange between Jim and Émile in which these apparent adversaries swap nostalgic reminiscences. Jim tells of how he left home, wanting to see the world, and caught the train to Paris from Dijon: ‘Il arrivait de Vienne ou Trieste à cette époque?’ 16 ‘Istanbul’, remembers Émile. They recall the way a man used to walk along the train

in Jean-Luc Godard
Richard Farmer

contribute to assorted savings drives, collected money for British prisoners of war to the tune of £1.2 million, and placed hundreds of cinemas at the disposal of the War Office so that training and instructional films could be shown to the forces, Home Guard units and the Civil Defence Services.63 This was, as Kinematograph Weekly proudly asserted, a ‘100 per cent war effort’.64 The angry response to Bracken’s mention of compulsion, and also the 69 70 Cinemas and cinemagoing in wartime Britain, 1939–45 heated exchanges that followed on from not unfounded accusations

in Cinemas and cinemagoing in wartime Britain, 1939–45
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Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d’abord
Marja Warehime

pattern of rendez-vous, quarrels followed by reconciliations, and departures à deux for weekends or vacations, that make up the bulk of the events of the film. The couple will never live together because Jean has never divorced Françoise and continues to share an apartment with her. In a sense, the entire trajectory of the film, which focuses on the period that leads to their break-up, is implicit in the initial sequence in Jean’s apartment. The failed exchange in the bedroom is repeated (in a more banal guise) in the kitchen the next morning. Catherine, wrapped in a

in Maurice Pialat
Abstract only
Michael Leonard

led to the director’s tendency to either accept or refuse proposed dialogues in their entirety: ‘il croit au premier jet, à l’inspiration et surtout pas au travail’ 6 (Guérinin 1993 : 38). The sparse, minimalist dialogues of Les Baisers de secours result from Cholodenko’s reticence to break ‘le silence Garrelien’ 7 (38). Nevertheless, La Naissance de l’amour , made four years later and marking Cholodenko’s third collaboration with Garrel, features lengthier dialogue and developed exchanges between characters, signalling a more central role for Cholodenko in

in Philippe Garrel
Steven Ungar

attachment to Proust’s novel permeated many of his films, even as far back as Ossessione, his 1943 adaptation of James M. Cain’s The Postman Always Rings Twice. Interviewed at the 1971 Cannes Festival on the subject of ‘his Proust’, Visconti told Positif critics Michel Ciment and Jean-Paul Török that he might never have completed a literary transposition of the Recherche for the screen because he understood that certain things would drop out, including the musicality of Proust’s prose: ‘But in exchange, I think I could, through an image, penetrate into Proust’s kind of

in French literature on screen
Fernando Arrabal and the Spanish Civil War
David Archibald

, following an exchange of eroticised glances between Fando and his aunt, returning to solarised footage of his sexually aroused aunt massaging her breasts. Fando prepares to strike the woman with an axe but, as he lowers the phallic object towards her, there is a cut to an image of an over-ripe watermelon being cleaved in two and the boy sensuously rubs his hands in the fruit’s flesh. The film returns to the family home where Fando straps a metal cilice to his lower thigh and attempts to mortify his flesh. As he does so, a non-diegetic voice says: ‘My son, when you feel

in The war that won't die