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Phil Powrie

Carax is about postmodern use of colour, Besson is about costume. We are unlikely to remember much about Gorodish’s (Richard Bohringer) clothes in Diva , or Alex’s (Denis Lavant) in Mauvais sang ; we are considerably more likely to remember Héléna’s (Isabelle Adjani) punk hairstyle in Subway , the diving outfits in Le Grand bleu , Nikita’s Audrey Hepburn style hat, 2

in The films of Luc Besson
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Guillaume Dustan and Erik Rémès
Victoria Best and Martin Crowley

are my New Balance (80); these aren’t swimming trunks, they are ‘les maillots Hom taille 4 que j’achetais aux Nouvelles Galeries’ (472); this isn’t a pair of jeans, it’s ‘mon 505 néo-punk’ (81) or my ‘501 usé’ ( 1996 : 29; on this, see Boisseron: 2003 , 84). [‘size 4 Hom trunks I used to buy at the Nouvelles Galeries’; ‘my neo-punk 505s’; ‘my distressed 501s’.] Dustan here develops a technique which

in The new pornographies
Y tu mamá también
Deborah Shaw

anti-capitalism was sparked by a spate of films which achieved commercial success while attacking the sins of global capitalism. See Brook (2010) for discussion of this. See K-punk (2010) for an analysis of this debate in relation to James Cameron’s Avatar (2009).  6 For more on Good Machine, Linde, and Focus Features, see the press release from Universal Pictures ‘Universal Studios Promotes Marc Shmuger to Chairman and David Linde to Co-Chairman, Universal Pictures’ at  7 Picturehouse folded when Warner Brothers

in The three amigos
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A post-Millennium phenomenon
Steven Peacock

’s skilful engagement with central structural elements of the detective and thriller novel.20 One of the most striking aspects of the Millennium trilogy is each entry’s affiliation with different sub-genres of crime drama. The Girl with the Dragon Tattoo, in introducing post-punk cyberhacker Lisbeth Salander and investigative journalist Mikael Blomkvist, soon settles into a variation of Agatha Christie’s ‘locked room’ mysteries, with a family’s secret murky history playing out on their own private island. The second book, The Girl Who Played with Fire expands the mythos of

in Swedish crime fiction
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Violence à trois
Ann Davies

also played the dominating protagonists of the three previous films. One might also argue that we notice Lucía more because she functions more overtly as an object to be looked at. Javier Ángulo observes that while we are used to seeing her as introverted and disturbing, in Asfalto she has an expressive role that allows us to appreciate her physical attractiveness, which her previous films did not (Ángulo, 2000: 33). Lucía’s high heels and short skirts make her more overtly sexy than the punk look of Alex, Gabi’s childlike demeanour and the generally drab clothing of

in Daniel Calparsoro
Susan Hayward

modern (cartoons) – the one co-existing within the other – which brings critics to describe his work as neo-baroque. As with the baroque, there is a formalism that encapsulates a truth, an exterior that holds hidden an interior but that is always co-present. 34 To give an evident example, let us take Nikita. The eponymous protagonist, Nikita, is the embodiment and the site of inscription of violence: she starts out as a punk-junkie who uses

in Luc Besson
The transnational and transgeneric initiative of La Zanfoña Producciones
Josetxo Cerdán and Miguel Fernández Labayen

closer to video art compositions than to narrative cinema. This third and final strand is somehow anomalous to the Spanish film industry. Mixing a punk, ‘do-it-yourself’ philosophy with the neat fashionable composition of video art, Cinexín is an interesting struggle to overcome the rigid patterns of narrative applied to what could be called the short-film comedy. The success of the collective film led

in Contemporary Spanish cinema and genre
Britain’s ‘bad blonde’
Andrew Roberts

damehood would not have been implausible. 25 But it was not so much the screen adaptation of Nell Dunn’s play that served as the finest moment of the twilight of her career but her fairy godmother in the video for Adam and the Ants’s ‘Prince Charming’. There are far worse epitaphs than a 1950s icon appearing with a punk/new-wave star (and one who owed a considerable stylistic debt to Johnny Kidd and the Pirates), providing him with a new wardrobe and a Mercedes-Benz 300SL Roadster – and it further encapsulated her idiosyncratic appeal. She was not the British Marilyn

in Idols of the Odeons
Popular genre film in post-Franco Spain
Barry Jordan and Rikki Morgan-Tamosunas

, fashion, identity politics, drug cultures, etc. Against a background of a resurgence in regionalist politics and a recognition of the diversity of languages and cultures in Spain, the famous Movida occurring among Madrid’s marginal groups began to develop. As noted elsewhere, a new pop culture, unsupported by government institutions with its roots in 1960s New York underground and 1970s punk, hit the

in Contemporary Spanish cinema
Barry Jordan

fatale , with a taste for older women (as Gavi in Pasajes (Passageways, 1996) and punk shop assistant/ETA activist trying to escape the movement (as Marrubi in A ciegas (Blinded, 1997). She was thus linked on screen with crime, delinquency, grunge and ugliness, the punk lifestyle, alternative sexualities and the Basque cultural underground. However, Amenábar managed to find in her a degree of sensuality, mystery and scary

in Alejandro Amenábar