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Polisse and Entre les murs
Gemma King

Maghrebi origin is being questioned by a young Franco-Maghrebi female officer, Nora. It transpires that the man is planning to send his young daughter to North Africa to force her into a marriage with her cousin. The daughter has approached Nora for help. The case affects Nora on a personal level, as she shares a cultural background with this young victim. In the beginning of the scene, Nora tries and fails to exert her authority over the suspect, who clearly does not respect her. As their exchange grows more heated, the use of the Arabic language becomes instrumental in

in Decentring France
Susan Hayward

accepts his discipline around her training-up to be a hit-woman, but she has the means to pay him to train her up so the exchange has parity. But what strikes of course is that she is doubly occupying a male role. First, as a trained killer manipulating phallic technology of death, she occupies a position more traditionally associated with the male; second, as economically independent and a commander of capital, she has the

in Luc Besson
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Keith Reader

‘characters’, in that sentence, is open to doubt; a Cinéma 63 symposium on Bresson yielded the following exchange: (Michel Mesnil) ... Il n’y a pas un seul personnage féminin sympathique chez Bresson. (Robert Benayoun) Il n’y a pas de personnages sympathiques chez Bresson. (Pierre Billard) Y a-t-il des personnages chez

in Robert Bresson
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Pagnol’s legacy
Brett Bowles

-Pierre Bernard, the show featured Michel Galabru (Raimu) and Philippe Caubère (Pagnol) doing dramatic readings of letters the legendary actor and filmmaker exchanged between 1929 and 1946, supplemented with embellishments by scriptwriter Pierre Tré-Hardy. The show’s four-month inaugural run at the Théâtre Hébertot between March and June 2009 prompted a successful national tour the following year. A related and equally popular dramatisation

in Marcel Pagnol
Ian Aitken

teacher’s replies are characterised by a writing style which may be defined as private; so much so, in fact, that readers may find the exchange rather incomprehensible; and, because of this, it is impossible to make too much sense of it. Nonetheless, Lukács’ introductory sentences to his response are striking, and may cause more than just a handful of readers to consider the

in Lukácsian film theory and cinema
My life in fanzines
Clare Wadd

for community too. Once you got one, you had the addresses for others, and a whole new world opened up. Coins taped to bits of cardboard whizzing round the country, letters exchanged. At this point I was an enormous fan of The Alarm. I liked the music, I liked the politics, I liked the down-to-earth-ness, the way they hung around after gigs to talk to fans, the decentness of them. I’d barely seen another band play, except them and the bands supporting them. That summer I went on holiday to Tenby and was thrilled to go to a Radio One Roadshow there (Peter Powell

in Ripped, torn and cut
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Brian McFarlane

bibliophile in New York, Helene Hanff, published The Duchess of Bloomsbury Street , a memoir about her visit to London to meet people associated with a Charing Cross Road antiquarian bookshop. She had engaged in a lengthy correspondence with its manager, Frank Doel, and their exchange of letters metamorphosed into book form, bearing the shop’s address as its title. In this volume (reprinted many times during the next decade) a very engaging sense of character interplay emerged. Its next incarnation was as a 1975 television production as one in the Play for Today series

in The never-ending Brief Encounter
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Don Fairservice

long enough to be read through twice. Because dialogue exchanges using inter-titles were an intrusive element in a scene, their use was always succinct, and restricted to the essential; precedence was always given to the image. If the content of a spoken line could be inferred from its context, the inter-title would often be omitted altogether. Examples of innovative editing abound. In a side room

in Film editing: history, theory and practice
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Don Fairservice

flight of stairs in a small house and collecting a tea-flask from the kitchen table. A guarded exchange of glances between him and a woman tending her young children then pans to reveal a pair of obsessively polished boots standing next to the kitchen range. Cut-transitions link these plangent and understated images together in a way that seems to demand that their meanings be understood. It is an important restatement of the way

in Film editing: history, theory and practice
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Screening capital and culture in Airbag and Smoking Room
William J. Nichols

directors and from the industry to distributors, exhibitors, audiences and their friends’ ( 1999 : 15). Genre, in other words, can be understood as the key cog in the industrial machinery that defines the production and consumption of film, a kind of contract for the ‘mode of exchange’ between those who pay to make films and those who pay to see them. In Film Genre: Hollywood and Beyond (2005), Barry Langford

in Contemporary Spanish cinema and genre