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Consumer culture’s killer instinct and the imperial imperative
Hilary Ann Radner

, 1990), indicating the continued relevance of Ross’s analysis, the film highlights an issue ignored by Ross, the problem of the single woman and her importance to consumer culture. The Single Girl is, nonetheless, present in French New Wave culture as exemplified by roles such as that incarnated by the cult French actress of the period, Françoise Dorléac, in the 1964 film, La Peau douce ( Soft Skin

in The films of Luc Besson
The queer plays of actors, auteurs and machines
Brad Epps

gender and sexuality (2004). It is just this reliance on easily recognisable figures and situations that I shall be querying in what follows by way of a deliberately disjunctive pairing of the actor-​driven Thou Shalt Not Covet and, in the final section of this chapter, Lucrecia Martel’s La niña santa (The Holy Girl, 2004), in which recognition is anything but easy. In so doing, I hope to bring to the fore, and perhaps to complicate, some longstanding tensions between actors and auteurs, commerce and art, frivolity and seriousness, overstatement and understatement, the

in Performance and Spanish film
Philip Gillett

in the sixteen to twenty-four age group went dancing each week, with more interest being shown by girls. 3 Whether dancing was a class-based activity is more difficult to determine. A pointer is Wilfrid Harper’s wartime study conducted in industrial Lancashire and based on 721 diaries and 892 questionnaires: elementary school pupils and working adolescents spent four times as much time in dancing on Saturdays as their

in The British working class in postwar film
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Kurys’ authorial signature
Carrie Tarr

family as a formative experience in the construction of identity is of particular interest for spectators of Kurys’ generation. Their sympathetic, detailed evocations of ‘ordinary’ lives in the 1950s and 1960s re-inscribe girls and women into postwar history and provide a critique of women’s subordination within marriage. Their depictions of more unconventional women’s lives in the films set in the present continue to address

in Diane Kurys
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The role of women in punk fanzine creation
Cazz Blasé

4 Invisible women: the role of women in punk fanzine creation Cazz Blase The role of women and girls in the creation of 1970s punk fanzines is largely unacknowledged. Because this area of punk fanzine research is so underdeveloped, this chapter will be situated within a much longer time period than is usual, beginning both pre-punk and pre-1970s. This is in order to reflect the contribution women have made towards independent printing and publishing from the nineteenth century onwards. There are a number of of key moments of pre-punk agitation in print that have

in Ripped, torn and cut
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Douglas Keesey

fighting pornography’s objectification of women as mere flesh for male consumption. Breillat has often said that the subject of her films is not ‘sexuality’, but women’s ‘sexual identity’ and particularly the way in which patriarchal society makes women feel ashamed of their bodies and their desires (Breillat 2006a: 106). Under the male gaze, a woman is not allowed to develop her own identity as a physical and spiritual being but instead she is ‘cut in two’, her body severed from her soul, as she is forced into a stereotyped gender role – either the asexual ‘good girl

in Catherine Breillat
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Girls in the news
Peter William Evans

. Laburnum Grove highlights two of Reed’s perennial themes: class and the divided self. As in Penny Paradise, Bank Holiday, A Girl Must Live (1939), and then, later on, in Kipps (1941) and many other films, Reed depicts the cultural background as well as the lifestyle and aspirations of driven characters. The almost documentary attention to the customs and manners of different classes allows him to explain to some

in Carol Reed
Carol Medlicott

of Blood , was adapted from a lengthy novel that follows the plight of a Korean peasant family in 1930s Manchuria, and this novel was allegedly penned by none other than Kim Il Sung himself. Although the five revolutionary operas were first designed as stage productions, they were also adapted to film. One of the five, Flower Girl (1972), received accolades at an international film festival in

in Cinematic countrysides
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Consuming desires in the sex comedy
Kathrina Glitre

with a Kiss, ‘Falling in love is no reason to get married [. . .]. If you were a girl, you’d be looking for a beautiful set of things to marry, and you really wouldn’t care what kind of man went with them.’ Men may have felt that marriage was emasculating, but resisting marriage was considered even worse. As far as Lundberg and Farnham were concerned, ‘bachelors of more than thirty, unless physically deficient, should be encouraged to undergo psychotherapy’ (1947: 370). Such bachelors were seen as failing to accept their ‘natural’, mature responsibilities, with

in Hollywood romantic comedy States of the union, 1934–65
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Claire Hines

two years. On the one hand, Playboy instantly recognised some similarities between Bond and Palmer, and that the film version of The Ipcress File was tapping into the contemporary spy boom. ‘The adaptation of the novel by Len Deighton deals with a secret army operative who’s fancy with food and great with girls and who’s pitted against a huge foreign plot,’ noted Playboy: ‘It’s unfair to say it’s filched from Fleming, but Deighton’s popularity probably came from the public enthusiasm that sent up James Bond’s stock’.2 Played by Michael Caine, Palmer was also an anti

in The playboy and James Bond