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Expendable Expendable?
Natasha Parcei

youthful superiority as Ross’s counter, mirroring their introductory exchange by noting, ‘You know you’re not as fast as you think,’ to which Ross concedes, ‘I’m beginning to sense that.’ In addition to the scene’s dialogue the decline narrative is underscored by the presentation of Ross’s battle worn body against Christmas, who remains unscathed. This presents the difficulty that

in Crank it up
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Sam Rohdie

could have no fictional motivation, no justification. If you look at the films of the 1930s, they are marked (from film to film, director to director) not only by their conventionality but by the modesty of their conventions – few if any close-ups, no action or gesture or word that was not clearly motivated and understood, no truly objective shooting so that, in the movement from one shot to another, a dramatic reason or an exchange of looks or a continuity of points of view would be established (the shot/reverse-shot was a crucial instrument for maintaining the

in Film modernism
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Sally Dux

use of what can be termed ‘silent dialogue’ where the actions and facial expression of the actors establish the depth of emotion required is in contrast to the emphasis placed on intense verbal exchange and action as favoured by many of his contemporaries. The meticulous attention that Attenborough applies to all aspects of casting and the high standard of performance that he obtains is also acknowledged as a characteristic of his films, all of which have contributed to his becoming known as the ‘actors’ director’.12 In particular, Attenborough has extracted

in Richard Attenborough
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Gemma King

authorities. But the interpreter has heard this canned response many times, and knows the French officer has as well. In a relaxed, level voice, the interpreter tells Dheepan that to use such a story would be to reveal himself as a liar. In response to the lengthy, untranslated exchange, the French officer interjects and asks what is being said. The interpreter feigns confusion, explaining that he doesn’t understand, implying differences in dialect between the two men. He asks Dheepan his true name, and when Dheepan responds Savidhasan, it becomes clear the MUP

in Decentring France
Sam Rohdie

continuity uninterrupted unlike the shot reverse-shot, but seldom results in its clarity. The careful editing of the exchanges between Bogart and Bacall in Hawks’s To Have and To Have Not, particularly in the hotel, between their rooms, where each image is a direct response to every other that together in the sequence of the events and the shots depicts the progress of a relation between the two central characters

in Montage
Sam Rohdie

is, one might say, sutured into the continuity of action represented in the shots – clearly the case in a shot counter-shot arrangement, usually of an exchange between characters. The effacement of the break is achieved in part by the maintenance of eye-line matches between shots and by the sheath of dialogue (sense) that overlays the images. One of the perennial debates concerning film involves the difference (and

in Montage
Ian Aitken

with cineastes. For example in Berlin and Moscow with Béla Balázs. Later, after my return home, I had an exchange of letters with Aristarco, who also came to visit me personally in Budapest. A.K .: After your occasional relationship with the cinema, it seems to me that you have devoted more time in recent years. G.L .: I would like to

in Lukácsian film theory and cinema
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Local Hero and the location of Scottish cinema
Ian Goode

office in the sky. The combination of astrology with economics allied to Happer’s odd behaviour serve to deflect attention from the economic muscle that he wields as head of a multinational oil and gas company. MacIntyre’s encounter with rural Scotland is initiated as the negotiation of a business venture that becomes an exchange between rural nature and urban culture that Duncan Petrie

in Cinematic countrysides
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Jason Statham and the ensemble fi lm
Sarah Thomas

exception, and it is notable how the spaces of Statham and Stallone are managed and how they compare to the formal treatment of the wider ensemble, often being utilised at the expense of the more balanced full group shot, as demonstrated in each film’s conclusion. Movement limited by the confines of the cockpit, the two actors rely on voice, with back-and-forth exchange forming an

in Crank it up
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Cross-cultural tattooing in Caryl Férey’s New Zealand crime fiction
Ellen Carter

France by Louis-Antoine de Bougainville (Hemming 2006 : 79), then in 1774 when Omai was taken from Raiatea to Britain by James Cook (Guest 2000 : 83). 2 Both Polynesians were presented in society circles and had their likeness captured by painters such as Sir Joshua Reynolds, whose portrait of Omai ‘inscribes its object with an acultural illegibility, isolated from any coherence of origin’ ( ibid. : 84). This cross-cultural exchange also marked European languages; from the Tahitian word ‘tatau’ stems both the English ‘tattoo’ (DeMello 2000 : 45) and French ‘tatouer

in Tattoos in crime and detective narratives