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Joshua Foa Dienstag

others nor his paranoia about their motives. On the contrary, I think our exchange will reveal that the spirit of friendship can survive disagreement and, in fact, even be strengthened by it. But again I remind you that we can only disagree and be nourished by our dissensus after the film has ended and not while it still plays. I remain undaunted in the thought that this

in Cinema, democracy and perfectionism
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Felicity Chaplin

time and place, then this universal essence is, paradoxically it seems, the only thing that cannot be bought and sold in the marketplace. The essence of la Parisienne lies, it would seem, somewhere outside the economy of exchange, production and consumption. Indeed, Susan Ossman argues that a woman becomes Parisienne not by possessing some innate or indefinable essence but rather by assuming an identity based on a principle ‘tethered to a specific ground through multiple mediations’ (25). This ground is the city of Paris itself; however a woman may be tethered to

in La Parisienne in cinema
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The Sleeping Tiger (1954), A Man on the Beach (1955) and The Intimate Stranger (1956)
Colin Gardner

-class fiancé, Bailey (Glyn Houston), turns up at the house to confront Clive with Frank’s abusive behaviour. Fearful that Bailey will go to the police and rob him of his precious guinea pig, Clive buys him off for £100. That night, Frank rifles through Clive’s desk and discovers the cheque stub. Furious at seeing his humanity reduced to a simple item of exchange for mutual profit, Frank decides to pay Clive back with interest

in Joseph Losey
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A Doll’s House (1973), The Romantic Englishwoman (1975) and Steaming (1985)
Colin Gardner

Ceremony and continued in The Go-Between .’ 11 Rayns might have gone even further, for like Eve and Modesty Blaise the play’s power relations are also rooted in Marx’s spectral economy of exchange value, more specifically paper representations of money such as legal contracts, bills of exchange, sureties, IOUs and, most importantly, that frightful apparition called credit . In his 1844 notes on

in Joseph Losey
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Loulou, A nos amours and Police
Marja Warehime

would have found work after the baby came, she expresses doubt. ‘Fallait me faire confiance’ (‘You should have trusted me’) he replies. Pialat subsequently regretted not concluding the film with this scene (Pialat 1980b: 24). In fact, the subsequent scenes weaken the dramatic value of this exchange by suggesting, with a twist worthy of Rohmer, that the couple might have a future. After leaving Nelly to rest in their apartment, Loulou meets André as he emerges from the Metro, their brief exchange making it clear that Loulou appealed to his rival to help him to

in Maurice Pialat
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Guy Austin

final shift in tone and a final celebration of kitsch is provided by the fairytale ending which takes place, the caption assures us, ‘Un siècle plus tard’. 3 Pretending to have been crippled by the gangsters, Victor waits in an isolated Swiss chalet for the arrival of Betty (who is still driving the trusty dormobile). In a false ending, they exchange a few home truths before she takes off again. But a moment later, as Betty

in Claude Chabrol
Consumerism and alienation in 1950s comedies
Dave Rolinson

the collective action of the police, but this is possible because of the intervention of anti-consumerist consensus. The robbers are first obstructed by a stall keeper who mistakenly thinks that Pendlebury has stolen a painting. The arrival of the police warns of the dangers inherent in the gang’s inability to grasp that consumerism is dependent upon exchange value – all they can exchange for the

in British cinema of the 1950s
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Derek Schilling

’ face of cinema was a ‘use value’, a site of expressiveness that directors often endowed with the auratic quality known as photogénie. The ‘ordinary face of cinema’ which emerged in the 1930s is, by contrast, a pure ‘exchange value’ whose primary function is to solder together disparate elements of the fictional world. Both the actor’s gaze and the spoken word govern the flow of meaning, within the frame and in relation to

in Eric Rohmer
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Claire Hines

reach of Bond’s popularity as produced and circulated not only in the novels and films, but also in the promotion, marketing and other media forms, including some mention of the appearances in Playboy. It is of particular significance to this study that Bennett and Woollacott observe the need to recognise that James Bond functions as ‘a mobile signifier’ within a broad and changing network of relations that make up the Bond phenomenon.3 They propose that since Bond is best understood to be: produced in the circulations and exchanges between those texts which together

in The playboy and James Bond
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Lancelot du lac
Keith Reader

greater than in much of Bresson, though facial close- ups (except of horses) are comparatively rare. Shot/reverse-shot is characteristic of confrontation, a classic cinematic device for the maintenance of tension. That tension between the carnal and the spiritual is reinforced here by the cold tones in which the lovers speak, as though in quotation marks. The exchange between Guenièvre and Lancelot when he tells her of his vow

in Robert Bresson