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Anu Koivunen, Katariina Kyrölä and Ingrid Ryberg

). Vulnerability and Human Rights. University Park: Pennsylvania State University Press. Tyler, I. (2013). Revolting Subjects:  Social Abjection and Resistance in Neoliberal Britain. London and New York: Zed Books. Vaittinen, T. (2015). ‘The power of the vulnerable body’, International Journal of Politics, 17:1, pp. 100–​18. White, P. (1999). Uninvited:  Classical Hollywood Cinema and Lesbian Representability. Bloomington, IN: Indiana University Press. Wiegman, R. (2014). ‘The times we’re in: Queer feminist criticism and the reparative “turn” ’, Feminist Theory, 15:1, pp. 4

in The power of vulnerability
Breaking through the barriers of filmmaking
Deborah Shaw

relates to the structure of classical Hollywood cinema, with the problems that this entails discussed above.21 This fairy tale structure behind many forms of ‘globalised’ storytelling is what takes the film away from its historical specificity. The magical dimensions ultimately take over the realist elements, so that these fantasy elements, while responsible for the film’s global success, are also at the root of the historical distortion, as seen. The fairy tale and El laberinto del fauno Del Toro has always had global ambitions for his filmmaking, and has thus studied

in The three amigos
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Claire Hines

displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.’51 According to Mulvey, on screen the female character is conventionally a passive spectacle whose main function is to be the object of the male gaze, and to provide a motivation for the hero with whom the spectator is invited to identify. Though originally Mulvey focused her analysis on classical Hollywood cinema, and there are obviously limitations to such an approach, over the years there has been much talk about the continued relevance

in The playboy and James Bond
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The Taming of the Shrew and odd-couple comedy
R. S. White

characteristic screwball-comedy plot was constructed around the clash of incompatible personalities and values, and much of screwball’s energy comes from the escalating and apparently irresolvable conflict between its incompatible romantic couples. This conflict, however, takes place within the conventions of romance, of comedy, of classical Hollywood cinema’s

in Shakespeare’s cinema of love
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Guy Austin

) – were followed by Un dimanche à la campagne ( Sunday in the Country , 1984), La Passion Béatrice (1987), and La Vie et rien d’autre ( Life And Nothing But , 1989). A film critic before he turned director, Tavernier is deeply influenced by classical Hollywood cinema, and his medieval frontier story La Passion Béatrice has been credited with ‘doing for French history what the Western did’ for

in Contemporary French cinema
Julien goes to Hollywood
Ben McCann

narrative practices of the classical Hollywood cinema (CHC) style. Central tenets of the CHC style include the principles of continuity editing and invisibility (i.e. the camera should not call attention to itself), three-​act structures (orientation, complication, and resolution), and a treatment of space that consists of centering, balancing, frontality, and depth (Bordwell, Staiger, and Thompson 1985:  1–​59). Duvivier was generally faithful to the CHC style in each of his American films (indeed, one of the major reasons for his success in America was his adherence to

in Julien Duvivier
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Sound, signification and materiality
Andy Birtwistle

cinesonic, rather than issues of film genre, the book purposefully engages with a wide range of film and video sources. The majority of the work undertaken on film sound to date has tended to focus on the narrative feature film, and while my own study also considers classical Hollywood cinema, significant reference is also made to avant-garde film and video, animated cartoons and scratch video. Although each chapter makes use of

in Cinesonica
Andy Birtwistle

Hollywood cinema cannot sustain the intense sense of gaseous undefinability that has been set up here. The diffusive atmosphere of this scene is punctured by the sudden insertion of kinetic energy, provided by a rapid Soviet-style montage of shots of the lights of the oncoming train, close-ups of the transfixed Steele, and the interior of the carriage, each of which is only a few frames in length. However, in the second version of the sequence

in Cinesonica
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Andy Birtwistle

-ceptualisation of sound film as simply ‘canned theatre’ – or in this instance, canned music. In terms of the prioritisation of the visual over the sonic, the avant-garde proves no different from classical Hollywood cinema. Although, as previously stated, music had an important influence on the development avant-garde film, this was limited to providing a model of how an abstract visual experience might be organised in time. As Wollen notes

in Cinesonica
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Jonathan Bignell

of spectatorship in American silent cinema with a passing reference to Buster Keaton. Her concern in the book is the gradual establishment of the regime of spectatorship which we now refer to as ‘classical Hollywood cinema’, and she mentions Keaton’s Sherlock Junior (1924) in this context as a film which dramatises the new spectatorial relation which is being constructed: With the elaboration of a type of narration that seems to anticipate – or strategically frustrate – the viewer’s desire with every shot, the spectator became part of

in Beckett on screen