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Hollywood codes and the site of memory in the contemporary film musical
Pietsie Feenstra

Madonna form the inspiration for the entirely Spanish Marieta. As life changes, the musical continues to tell stories about new issues by adapting traditional codes to create modern love stories. The film ¿Por qué se frotan las patitas? confirms this tendency by revisiting pop music. The question in the title – ‘Why do they rub their legs?’ – is posed by a punk when he sees a

in Contemporary Spanish cinema and genre
Rowland Wymer

apparent invitation to nostalgia and derives from Ford Madox Brown’s sentimental 1855 painting of an unhappy-looking couple, reduced to a genteel poverty, leaving by boat for a new life, with the white cliffs of Dover clearly visible behind them. In Jubilee Jarman’s critique of the present had included some idealisation of the Elizabethan past, though the interaction of this past with the punk culture of the 1970s had quickly

in Derek Jarman
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

opponent – with the added barb that, this time round, the gay element is displaced on to the baddies. Boyd, a suave, menacing figure, sports a fancy waistcoat, a flower in his button hole and a cockney-genteel accent. His boyfriend doubles as chauffeur and receptionist, a punk-ish youth slouched in a booth leafing through male-physique magazines. The negative attraction between Davidson and Boyd skews

in British cinema of the 1950s
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From music hall to celluloid
Philip Gillett

artists from using the halls as platforms for more subversive views – such an august institution as the BBC managed to accommodate the maverick talents of Tommy Handley, the Goons and Mort Sahl, not to mention punk rock. 5 In the late 1940s, the cinema’s debt to the music hall was evident in the Mancunian comedies and the Old Mother Riley series. Both were distinctive forms of British cinema, though their proletarian character

in The British working class in postwar film
Phil Powrie

Carax is about postmodern use of colour, Besson is about costume. We are unlikely to remember much about Gorodish’s (Richard Bohringer) clothes in Diva , or Alex’s (Denis Lavant) in Mauvais sang ; we are considerably more likely to remember Héléna’s (Isabelle Adjani) punk hairstyle in Subway , the diving outfits in Le Grand bleu , Nikita’s Audrey Hepburn style hat, 2

in The films of Luc Besson
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Guillaume Dustan and Erik Rémès
Victoria Best and Martin Crowley

are my New Balance (80); these aren’t swimming trunks, they are ‘les maillots Hom taille 4 que j’achetais aux Nouvelles Galeries’ (472); this isn’t a pair of jeans, it’s ‘mon 505 néo-punk’ (81) or my ‘501 usé’ ( 1996 : 29; on this, see Boisseron: 2003 , 84). [‘size 4 Hom trunks I used to buy at the Nouvelles Galeries’; ‘my neo-punk 505s’; ‘my distressed 501s’.] Dustan here develops a technique which

in The new pornographies
Y tu mamá también
Deborah Shaw

anti-capitalism was sparked by a spate of films which achieved commercial success while attacking the sins of global capitalism. See Brook (2010) for discussion of this. See K-punk (2010) for an analysis of this debate in relation to James Cameron’s Avatar (2009).  6 For more on Good Machine, Linde, and Focus Features, see the press release from Universal Pictures ‘Universal Studios Promotes Marc Shmuger to Chairman and David Linde to Co-Chairman, Universal Pictures’ at  7 Picturehouse folded when Warner Brothers

in The three amigos
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A post-Millennium phenomenon
Steven Peacock

’s skilful engagement with central structural elements of the detective and thriller novel.20 One of the most striking aspects of the Millennium trilogy is each entry’s affiliation with different sub-genres of crime drama. The Girl with the Dragon Tattoo, in introducing post-punk cyberhacker Lisbeth Salander and investigative journalist Mikael Blomkvist, soon settles into a variation of Agatha Christie’s ‘locked room’ mysteries, with a family’s secret murky history playing out on their own private island. The second book, The Girl Who Played with Fire expands the mythos of

in Swedish crime fiction
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Violence à trois
Ann Davies

also played the dominating protagonists of the three previous films. One might also argue that we notice Lucía more because she functions more overtly as an object to be looked at. Javier Ángulo observes that while we are used to seeing her as introverted and disturbing, in Asfalto she has an expressive role that allows us to appreciate her physical attractiveness, which her previous films did not (Ángulo, 2000: 33). Lucía’s high heels and short skirts make her more overtly sexy than the punk look of Alex, Gabi’s childlike demeanour and the generally drab clothing of

in Daniel Calparsoro
Susan Hayward

modern (cartoons) – the one co-existing within the other – which brings critics to describe his work as neo-baroque. As with the baroque, there is a formalism that encapsulates a truth, an exterior that holds hidden an interior but that is always co-present. 34 To give an evident example, let us take Nikita. The eponymous protagonist, Nikita, is the embodiment and the site of inscription of violence: she starts out as a punk-junkie who uses

in Luc Besson