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Phil Powrie

disregard of a productive tension. Similarly, the complaint made by Toubiana that the characters in 37 ° 2 le matin talk too much, can be explained by soap’s continual ‘emotional display’ (David Thornburn quoted in Ang 1985 : 68). Such display is an essential part of what Ang calls ‘emotional realism’ (Ang 1985 : 45), which contrasts with the realism of the classical Hollywood cinema, and for that matter the realism of French

in Jean-Jacques Beineix
Andrew Klevan

style of the rococo or, in film, the style of the French nouvelle vague in the 1960s. The Hollywood cinema of the 1920s to 1960s has been understood as a period style, or even a school (and labelled ‘The Classical Hollywood Cinema’ by David Bordwell et al. (1988)). There are also universal styles such as classicism and realism that may transcend specific places and periods (Meskin 2005: 489). The word ‘aesthetic’ is commonly used as a substitute for style: the nouvelle vague aesthetic, or Michael Haneke or David Lynch or Joseph von Sternberg’s aesthetic. A style will

in Aesthetic evaluation and film
Barry Jordan

consisted of collecting ‘memories’ for their ‘old age’! 30 There is insufficient space to develop the point here, but another aspect of Amenábar’s thesis on violence is arguably a complement, if not a challenge, to the Mulveyan paradigm of the gaze outlined earlier. Mulvey argued that the visual pleasure of classical Hollywood cinema was

in Alejandro Amenábar
Abstract only
Andy Birtwistle

scores did much to popularise the model of string-dominated melodic composition that came to dominate the soundtrack of classical Hollywood cinema. However, Steiner’s otherwise unassailable reputation is blemished by his use of mickey-mousing. The following, from Irwin Bazelon’s Knowing the Score: Notes on Film Music (1975), gives a clear indication of how this compositional practice has typically been viewed within the

in Cinesonica
Andrew Klevan

was writing within what he considered a context of insufficient appreciation for the ‘Classical Hollywood Cinema’ (whose films were typically conceived as standardised). 146 Aesthetic evaluation and film the angle/reverse angle of their conversation follows on from the mirroring or paralleling of the men just before their meeting on the train, especially the cross-cutting between their legs (and feet) as they both approach the station and platform. He repeatedly emphasises that ‘the status of a formal figure’ is acquired through ‘context and intention’ and ‘[o

in Aesthetic evaluation and film