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Paul Sutton

. (Peranson 2003 : 13) For Assayas the problem that faces many filmmakers of his generation lies in the fact that they have not produced their own dialogue with cinema history but have instead looked back to the New Wave filmmakers, who themselves had a very specific relationship with classical Hollywood cinema. Assayas argues of his peers that

in Five directors
Christine Cornea

character ‘types’ in this recent serial and notes the different meanings that therefore accrue in performance. For example, Peacock compares performances in the serial to those witnessed in earlier television and film Westerns, as well as the revisionist Westerns of post-classical Hollywood cinema. Moving on, Peacock notes that although Deadwood ‘holds true to the form of stock characters’, certain performers are

in Genre and performance
Abstract only
Brian McFarlane and Deane Williams

classical Hollywood cinema as Frears has on several notable occasions, or to the sentimentality of Mrs Henderson Presents … (2005). Both he and Meadows exhibit a passion for lives lived perilously, and it would be fascinating to see how Winterbottom might address the skinhead ferocities of Meadows’ This Is England (2007). But he finally seems more wide-ranging than any of these, except maybe (as noted above) than Frears: as

in Michael Winterbottom
Alison Tara Walker

the late Romantic style, reinforced the connection’ between films and romantic music; whether using pre-existing orchestral arrangements or relying on composers of the day to write new symphonic pieces for films, classical Hollywood cinema ‘adapted the late-romantic orchestra of ninety-plus players for the recording studio’. 12 Not only did romantic music rely on a large orchestra, its emotional qualities and

in Medieval film
Richard Rushton

encountered in the cinema of attractions offer, Hansen argues, ‘a range of film / spectator relations that differ from the alienated and alienating organization of the classical Hollywood cinema’ (ibid.: 181). Hansen is thus drawing a clear distinction between the standardized, orthodox practices of Hollywood and those different strategies (non-standardized, unorthodox) offered by the cinema of attractions. Again, it will become clear that this distinction is one that is founded upon the opposition between illusion and reality. Furthermore, the kinds of spectatorship

in The reality of film
Freudian hydraulic patterns in Le Grand bleu
Laurent Jullier

about the film more dispassionately, even if the complexities remain. The first problem is the range of the film’s possible meanings. Contrary to the classical Hollywood cinema – organised in such a way as to restrict overly variable readings – here we have a polysemic artefact. If multiple readings are possible, indeed, if it is difficult in the circumstances to conceive of misreadings, why bother

in The films of Luc Besson
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The princess and the post-’68 fairy tale
Susan Weiner

achieved by analysing the use of camera in the film. In her role as elegant socialite she is initially shot in the manner of classical Hollywood cinema, the voyeuristic object of ‘the three “looks” in the cinema’ (Kaplan 1983 : 14), of the male protagonist, the camera and the spectator. This is made absolutely explicit in the scene of the couple’s first sexual encounter in the internal setting of the bunker. Liza has changed

in From perversion to purity
Talking cures
Marvin D’Lugo

Narcissus: Women’s Voice in Classical Hollywood Cinema , Berkeley, Los Angeles and Oxford: University of California Press. Medina , Alberto ( 2002 ) ‘De la emancipación al simulacro: la ejemplaridad de la transición española’, in Subirats (ed.), 23–36 . Naremore , James ( 1998 ) More than Night: Film Noir in its Contexts

in Spanish cinema 1973–2010
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

failure of communication or emotional dysfunction and annihilation, in the context of the decadent world of the traditional rural Argentine society, through the use of what could be defined as a subjective realistic cinematic style. 1 In Narration in the Fiction Film , David Bordwell ( 1985 ) distinguishes between the narrative and filmmaking strategies used in classical Hollywood cinema and those

in Hispanic and Lusophone women filmmakers
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

 Durán. References Abad Ojuel, A. [as A.  Abad Ojual] (1943) ‘Una escuela española de actores’, Primer Plano, 22 August, n.p. Abizanda, M. (1943) ‘López Rubio cuenta sus aventuras’, Cámara, December, 38–​9. Baron, Cynthia (1999) ‘Crafting Film Performances: Acting in the Hollywood Studio Era’, in Alan Lovell and Peter Krämer (eds), Screen Acting, London: Routledge, pp. 31–​45. Bordwell, David, Janet Staiger and Kristin Thompson (1985), The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, London: Routledge and Kegan Paul. Caparrós Lera, José María (2000

in Performance and Spanish film