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

poetic, and permitted the spectator total freedom of expression. 6 As with This Sporting Life , Marcorelles (albeit heavily prompted by the director himself) was one of the few who understood what Anderson had attempted in his new short feature – the straddling of the two conventions. The White Bus This short film is based on a story by Shelagh Delaney. At its core is the idea of a Girl returning from

in Lindsay Anderson
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Don Fairservice

interest historically in that it was made by Russian exiles who fled to France following the Russian Revolution. The second is The Wind (1927), directed by Victor Sjöström who came from Sweden to Hollywood in 1923, 1 and the third, Diary of a Lost Girl (Tagebuch einer Verlorenen , 1929), was directed in Germany by G. W. Pabst. Sound came late to continental Europe; whereas American sound film production got under way early in

in Film editing: history, theory and practice
Career Girls
Tony Whitehead

‘All these memories’: Career Girls 8 Still keeping us on our toes, Leigh followed the ensemble playing and emotional sweep of Secrets and Lies with a carefully crafted miniature. Career Girls focuses on just two young women, Hannah (Katrin Cartlidge) and Annie (Lynda Steadman), who used to be flatmates when they were students in the mid-80s and, having not seen each other for six years, spend a weekend together at Hannah’s London home. It turns out to be a weekend full of coincidences and unexpected blasts from the past. Leigh makes no attempt to obscure these

in Mike Leigh
Unveiling American Muslim women in Rolla Selbak’s Three Veils (2011)
Alberto Fernández Carbajal

-confessedly had a difficult time raising funds for the film, given its controversial themes and its depiction of an American ethno-religious minority. The film charts the interwoven stories of three young Arab women in contemporary suburban California: Leila (Mercedes Mason), an American middle-class girl whose Middle Eastern parents have arranged her upcoming marriage to the seemingly pious Ali (Sammy Sheik); Amira (Angela Zahra), a young working-class Egyptian woman experiencing religiously repressed homosexual attraction; and Nikki (Sheetal Sheth), a young woman born in

in Queer Muslim diasporas in contemporary literature and film
Sam Rohdie

, miserly and miserable, ungenerous of spirit as he is of purse, meaner than the hat she wants to replace, rejects her request. The girl in turn is shunned by other women who have finer hats than her mean one. These women however desire ever more beautiful and elaborate hats than the ones they have. One in particular attracts them, a new arrival from Paris in the milliner’s shop window. The priest buys the hat for the young girl

in Montage
Sarah Wright

wayward daughter-in-law and gathering them both into the family fold. Here, as elsewhere in her films, stepping into the limelight is aligned with becoming a woman. In Un rayo de luz, her extraordinary voice is seen as being at odds with her childlike appearance. In the school dormitory Marisol is confirmed as the innocent child, fair-haired, surrounded in a huddle by girls in pink nightdresses. As the other girls move aside and the camera moves in to frame her at the centre, a game of scale is presented by the little girl with the extraordinary voice. But later in the

in The child in Spanish cinema
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Sexual politics
Paul Newland

Girls (discussed later in this chapter), who also appears to suggest, on the surface at least (to retain a sense of decorum) that he is disgusted 31 027-055_BritFilm70s_Ch 1.indd 31 27/09/2012 12:28 British films of the 1970s by open displays of permissiveness. But at the same time, it is clear that he is secretly turned on by lascivious sexual activity. The figure of Lord Coltwind in Eskimo Nell unambiguously recalls the real-life campaigner Lord Longford, a deeply religious aristocrat (whose name is also, of course, echoed in that of Lady Longhorn) who

in British films of the 1970s
Open Access (free)
Melanie Williams

J EAN-LUC GODARD once remarked that all you need to make a film is ‘a girl and a gun’ and the opening sequence of Yield to the Night (J. Lee Thompson, 1956) looks like a textbook illustration of his axiom. The girl is Mary Hilton, played by Diana Dors, who whips out the gun from her handbag and promptly shoots the woman she holds responsible for her lover’s suicide. As a result

in British cinema of the 1950s
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Portrayals of the working-class family
Philip Gillett

Most films concerned with working-class life offer some image of the family. In Holiday Camp (d. Ken Annakin, 1947), it is the stable, coherent social unit of the Huggetts. In It Always Rains on Sunday (d. Robert Hamer, 1947), the family generates conflict and divided loyalties, though the film holds out the hope of something better. In Good Time Girl (d. David Macdonald, 1948), the family is

in The British working class in postwar film
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Carrie Tarr

unhappiness of the fragmented pre-credit sequence and the aural and visual plenitude of the credit sequence sets up a tension between narrative and image which is exploited throughout the diegesis. The narrative itself is divided between the experiences of the children and the drama taking place between the adults. The film explores the everyday activities and changing emotions of the two girls, who are thrown together for the

in Diane Kurys