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Stephanie Dennison and Lisa Shaw

beyond. This chapter begins by considering the commercially successful cinematic adaptations of the work of two of Brazil’s foremost playwrights of the twentieth century: Nelson Rodrigues and Dias Gomes, followed by a discussion of the popular pretensions of two significant cinema novo films, Garota de Ipanema (Girl from Ipanema, 1967) and Macunaíma (Macunaíma, 1969). It returns briefly to the work of Nelson

in Popular cinema in Brazil, 1930–2001
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Horror, ambivalence, femininity
Deborah Martin

with constructions of femininity – which are subject to the scrutiny of Martel’s investigative gaze. From its very first sequence, the film presents us with the confusion and intermin­ gling of sexuality and holiness, elements which supposedly remain distinct, antithetical within the ideology of Catholicism and especially within its version of femininity. The film begins with the singing, by Inés (Mía Maestro), the girls’ spiritual leader, of a devotional poem in 55 La niña santa which religious faith is expressed through the language of erotic, even masochistic

in The cinema of Lucrecia Martel
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Steven Peacock

’s Cafe, Österleden and Stortorget). Stieg Larsson is at pains to describe the shops, bridges, and homes of Hedeby Island in The Girl with the Dragon Tattoo, paying as much attention to mapping the contours of this isolated (fictitious) locale as he is to setting out the complex webs of deceit spun there by its occupants. While Scaggs’ description draws a through-line from Agatha Christie to C.S.I: Crime Scene Investigation (dir. various, 2000–ongoing), there may also be particularly modern reasons for heightening senses of space and place in Swedish crime fiction

in Swedish crime fiction
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Embodiment and adolescence in recent Spanish films
Sarah Wright

collision of feet, hands and train, nevertheless works to keep children and train separate in the filmic space. In the scenes on the fairground roller coaster, we experience the twists and turns of the ride, but we are always anchored to a reassuring two-shot of the boys. I suggested earlier that the train might be seen as a trope to represent adolescence. We may be reminded, also, of its cinematic precedence in, for example, the scene where the two girls, Ana and her sister Isabel, press their ears to the track in Víctor Erice’s El espíritu de la colmena as a game of

in The child in Spanish cinema
Rowland Wymer

The relative success of Sebastiane (it ran for sixteen weeks at the Gate Cinema in Notting Hill before transferring to two other London cinemas and a number of provincial venues) encouraged Jarman, Whaley, and Malin to attempt the impossible once more and make another independently financed feature film. The starting point for Jubilee was Jarman’s fascination with Jordan, a girl who worked at the

in Derek Jarman
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Love and death
Peter William Evans

The Stars Look Down (1940) The film that followed Climbing High, A Girl Must Live , had been made while Reed was under contract at Gainsborough, so when the opportunity arose for him to direct The Stars Look Down permission was needed to work for another studio to direct the film that many regard as his first major work. Pauline Kael even went so far as to claim that it was ‘possibly his best

in Carol Reed
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Lisa Downing and Sue Harris

woman in the 1960s occupied her mind and time with the paraphernalia of sex and dating, which prevented her becoming a truly revolutionary social agent. Hence the proliferation of advice on sexual matters that suddenly became available to her. Jeffreys cites Gurley Brown’s influential sex-advice manual of 1962, Sex and the Single Girl which taught young women how to lure men into marriage – using varied and skilful sexual

in From perversion to purity
Hollywood codes and the site of memory in the contemporary film musical
Pietsie Feenstra

españolada : ¡Ay, Carmela! (Carlos Saura, 1990) and La niña de tus ojos/The Girl of Your Dreams (Fernando Trueba, 1998). The second category represents several successful productions treating contemporary relationships by integrating pop songs from different countries and periods: El otro lado de la cama/The Other Side of the Bed (Emilio Martínez Lázaro, 2002), 20 centí metros/20 Centimetres

in Contemporary Spanish cinema and genre
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This book combines mainly chronological coverage of all major stages of Carol Reed's career with special attention not only to the acknowledged masterpieces but also to films that deserve re-appraisal (e .g. Outcast of the Islands, Trapeze, Oliver!) . Reed's interest in the parent-child relationship, an interminable inquest across all the films into the origins of the self, is remarkable from the outset. Reed's characteristic fondness for low angle shots intensifies the atmosphere of doom from which none of the characters ever ultimately finds relief. Followed by The Third Man, Outcast of the Islands, The Man Between and A Kid for Two Farthings, The Fallen Idol was the first of five films made for Alexander Korda's London Films. Looking back at the film now it is clear that Outcast belongs to that group of 1950s films that challenge the conformist reputation of British films made during the decade. Reed's eye for detail and for creating atmosphere through photography or editing is unsurpassed in the British cinema. While the preponderance of father/son narratives may indeed be partly attributable, as some have argued, to feelings prompted by his illegitimacy, Reed's closeness to his mother is an equally significant contributory factor to the films' representation of personal and family relationships.

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Laurent Cantet is of one France’s leading contemporary directors. He probes the evolution and fault-lines of contemporary society from the home to the workplace and from the Republican school to globalized consumption more acutely than perhaps any other French film-maker. His films always challenge his characters’ assumptions about their world. But they also make their spectators rethink their position in relation to what they see. This is what makes Cantet such an important film-maker, the book argues. It explores Cantet’s unique working ‘method,’ his use of amateur actors and attempt to develop an egalitarian authorship that allows other voices to be heard rather than subsumed. It discusses his way of constructing films at the uneasy interface of the individual, the group and the broader social context and his recourse to melodramatic strategies and moments of shame to force social tensions into view. It shows how the roots of the well-known later films can be found in his early works. It explores the major fictions from Ressources humaines to the recent Foxfire, Confessions of a Girl Gang. It combines careful close analysis with attention to broader cinematic, social and political contexts while drawing on a range of important theorists from Pierre Bourdieu to Jacques Rancière, Michael Bakhtin and Mary Ann Doane. It concludes by examining how, resolutely contemporary of the current moment, Cantet helps us rethink the possibilities and limits of political cinema in a context in which old resistances have fallen silent and new forms of protest are only emergent.