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Representing the supernatural in film adaptations of A Midsummer Night’s Dream

keeping with the material instability of the fairies and the supernatural. Yet stage performances are limited by the bodies on the stage who perform in real time and can only do so within the confines of what is humanly possible. Even though cinema appears to represent reality, time is not contiguous when making the film. This gives film the ability to create special effects with editing, which in turn offers exciting potential for representing the supernatural in Shakespeare's plays. André Bazin originally thought that, because photography was a vestige of a past

in Shakespeare and the supernatural
National cinema, indigenous creativity and the international market

that ‘despite this twist, ultimately the film conforms to the established tradition in terms of a reliance on the romantic and elemental appeal of the beauty and remoteness of the landscape’ (2000a, p. 155). Later, in discussing the film’s melancholic ending he writes that ‘even this coda assumes the form of sentimental longing, stimulated by a romantic encounter with an idealised vision of Scotland’ (2000a, p. 156). As with other motifs of this group of films set in remote parts of Scotland, Local Hero makes landscape photography one of its main attractions, but

in Scottish cinema
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Soviet montage and the American cinematic avant-garde

‘newsreel in six parts’ Kino Glaz, which positioned a disembodied eye within a photomontage over a geometric background with architectonic text – the poster, in effect, created a Constructivist nexus of photography, film, typography, and design. The Soviet of Three produced several films during the mid 1920s, including 96 watching the red dawn A Sixth Part of the World (1926) and The Eleventh Year (1928), but the first film to be screened in the United States was The Man with a Movie Camera (1929). The premiere of the film at the Film Guild Cinema, a building

in Watching the red dawn
Words for Battle and Listen to Britain

England, pp. 205–6. 36 The image is reproduced in J. Taylor, War Photography: Realism in the British Press (London: Routledge, 1991), p. 87. 37 The image and the words of the commentary for Britain Can Talk It are repro­ duced in Q. Reynolds (commentary), Britain Can Take It: The Book of the Film (London: John Murray, 1941) [n.p]. 38 Reprinted in Taylor, War Photography, p. 59. 39 Audiences objected to images in newsreels of corpses on the home front. J. Fox, Film Propaganda in Britain and Nazi Germany: World War II Cinema (Oxford: Berg, 2007), p. 115. 40 See P

in Humphrey Jennings
Films of the Sensory Ethnography Lab

can be no doubt about the general direction of travel. Foundations and influences The SEL was initially set up at Harvard as a collaborative venture between the Department of Anthropology and the Department of Visual and Environmental Studies. On the home page of its website, it describes itself as ‘an experimental laboratory that promotes innovative combinations of aesthetics and ethnography’. In addition to film, it is also involved in the production of still photography, sound recordings and

in Beyond observation

times, seeks out a fantasy of the small town and the folk as a retreat from such forces’. Not surprisingly, the relational production of rural and urban identities again features within many of these amateur narratives. Cinematic countrysides closes with a contemporary rendering of alternative imagery. In their account of the Amber Film and Photography Collective in the north east of England, Katy Bennett and Richard Lee

in Cinematic countrysides

today’s medical historian. The medical interests of early cine users sometimes extended beyond Britain. For instance, Dr Horace Wilfred Taylor, from Bolton, filmed Tour in the USSR while travelling with his grandfather in an organised group from the Manchester region to Soviet Russia in 1932. 32 His still photography and cine footage at clinics and hospitals reflect the official expectation that visitors should encounter

in Amateur film
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Adapting classical myth as Gothic romance

According to its director, Terence Fisher, The Gorgon (1964) was not a horror film at all, but a romantic fairy tale and ‘frustrated love story’ (Ringel, 1975a : 24). Although the film is set in Hammer’s usual stylised middle Europe, the Gorgon herself derives not from Gothic literature, like Dracula and Frankenstein’s monster, but from classical mythology – unfamiliar

in Monstrous adaptations

these processes blurs all outlines and renders colours unstable, and the stop-motion photography seems to be trying, but eventually failing, to arrest time itself, whilst also insisting on our paying increased and loving attention to the objects photographed. In this way the film exemplifies the Russian Formalist dictum that ‘the technique of art is to make objects “unfamiliar”, to make forms difficult, to increase the

in Derek Jarman
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The limits of radicalism

service of auteurism, notions of film as art, and the search for commercial success. These include the use of the long take, a documentary-style social realist take on a sci-fi premise, as well as tropes taken from action-adventure films and the chase movie. Thus, Cuarón takes a hybrid transgenre approach in the sense that the film applies conventions and tropes from a number of genres and merges them together. The most commented upon stylistic feature applied by Cuarón and his director of photography, Lubezki, is the use of the long take. This is also the element most

in The three amigos