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Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’
David Scott Diffrient

accelerated speed during the interstitial, encounters a punk dressed in black, a 13-year-old boy who kicks the bum awake and demands money only to eventually sit down beside the man and offer him a cigarette. The kid then relates a story, accompanied by grainy video footage (the film’s only flashback), about how he bought some hash and stole the dealer’s lighter. In one of the green-tinted flashback

in Contemporary Spanish cinema and genre
Beineix, Besson, Carax from Diva to Le Grand Bleu
Raphaël Bassan

and imperishable. But Leos Carax, knowing exactly how to make use of fashion, is careful not to throw his characters into punk, and the miracle happens: these characters become beautiful. (Perez 1984 : 23) A couple of years later, Perez writes as follows: ‘Visually the signs of Mauvais sang are casual chic, destructuring

in The films of Luc Besson
Nigel Mather

film’s three lovers, on deciding that they cannot live with or without each other, opt instead for a lethal combination (initiated by the woman character) of suicide, murder and spiritual desolation. Two 1980s biographical films, by depicting the doomed love affairs of dramatist Joe Orton (1933–67) and punk musician Sid Vicious (1957–79), were able to construct narratives depicting love as a phenomenon capable of moments of

in Tears of laughter
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The past in the present/the present in the past
Paul Newland

lifestyles. But while the potential reading of the Ranters as hippies is rich here, we might also be tempted to read these characters retrospectively as proto-punks; as young people who refuse to play by the rules (and the ethics) of an older generation, and instead choose a ‘do-it-yourself ’ approach to everyday life built upon notions of simplicity and self-sufficiency. Arguing the case for Winstanley’s enduring relevance as a historical and political figure in the film, Christopher Durston puts it that ‘Gerrard Winstanley is shown as the upholder of the mid

in British films of the 1970s
Tom Whittaker

constituted by where he is not allowed to be. While the teenager is rendered socially invisible, his symbolic absence and alienation are compensated through outward appearance, through an emphasis on clothing and fashion. As Dick Hebdige has famously argued in relation to British subcultures of the 1960s and 1970s such as the punks and the mods, ‘subcultures rely on leisure and style as a means of making their values visible in a

in Screening songs in Hispanic and Lusophone cinema
Rob Stone

–60 . Jones , Jonathan ( 2007 ) Pablo’s Punks (9 January), [accessed 3 July 2009]. Marshall , Lee ( 2007 ) ‘Past Perfect’, Screen International (19 October), 27. Mulvey , Laura ( 2006 ) Death 24x a Second , London: Reaktion Books. Musetto , V.A. ( 2008 ) ‘Stalking Up Lost Love’, New

in Spanish cinema 1973–2010
Hollywood codes and the site of memory in the contemporary film musical
Pietsie Feenstra

Madonna form the inspiration for the entirely Spanish Marieta. As life changes, the musical continues to tell stories about new issues by adapting traditional codes to create modern love stories. The film ¿Por qué se frotan las patitas? confirms this tendency by revisiting pop music. The question in the title – ‘Why do they rub their legs?’ – is posed by a punk when he sees a

in Contemporary Spanish cinema and genre
Rowland Wymer

apparent invitation to nostalgia and derives from Ford Madox Brown’s sentimental 1855 painting of an unhappy-looking couple, reduced to a genteel poverty, leaving by boat for a new life, with the white cliffs of Dover clearly visible behind them. In Jubilee Jarman’s critique of the present had included some idealisation of the Elizabethan past, though the interaction of this past with the punk culture of the 1970s had quickly

in Derek Jarman
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

opponent – with the added barb that, this time round, the gay element is displaced on to the baddies. Boyd, a suave, menacing figure, sports a fancy waistcoat, a flower in his button hole and a cockney-genteel accent. His boyfriend doubles as chauffeur and receptionist, a punk-ish youth slouched in a booth leafing through male-physique magazines. The negative attraction between Davidson and Boyd skews

in British cinema of the 1950s
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From music hall to celluloid
Philip Gillett

artists from using the halls as platforms for more subversive views – such an august institution as the BBC managed to accommodate the maverick talents of Tommy Handley, the Goons and Mort Sahl, not to mention punk rock. 5 In the late 1940s, the cinema’s debt to the music hall was evident in the Mancunian comedies and the Old Mother Riley series. Both were distinctive forms of British cinema, though their proletarian character

in The British working class in postwar film