Tourette’s and urban space in Motherless Brooklyn
James Peacock

able, we have seen, more successfully to complete the mourning process, to ‘work through’ trauma (La Capra, 2001 : 70). Thus Pella Marsh simultaneously ‘dreams her way back’ to Brooklyn and moves on. This chapter and the next explore the ways Fortress and its predecessor problematise and retard the process of moving on by continually ‘acting out’ the losses of childhood (LaCapra

in Jonathan Lethem
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Political, cultural, green
Andrew Patrizio

not mean that art is invisible or lost within the networks it moves around. Elements of the artwork remain, irreducibly, there. This leads neatly to our second term considered in this chapter, that of ‘interconnectivity’ as an ecocritical concept. The politics of interconnectivity The binding feature of ‘interconnectivity’ comes up often, particularly in what are called ‘deep ecology’ models (not quite the same as ‘dark green’) first named as such by Arne Naess, 23 and picked up by Fritjof Capra in The Tao of Physics (1975) and The Turning Point

in The ecological eye
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The cinema of Fernando Méndez
Valentina Vitali

by Carmen Gonzáles and the two comedians Adalberto Matínez Resortes and Enrique King El Reintegro); Los apuros de mi ahijada / My Goddaughter’s Difficulties (1950), a middle-class comedy drama dwelling on the conflict between country and city values; Fierecilla / The Shrew (1950), an adventure film based on Shakespeare’s The Taming of the Shrew and a vehicle to launch the career of actress Rosita Arenas; La hija del ministro / The Minister’s Daughter (1951), a comedy inspired by Frank Capra’s work starring, again, Rosita Arenas; El suavecito / Suave (1950), to

in Capital and popular cinema
James Chapman

several conscious allusions to the Batman series including a riff on its theme music and a tongue-in-cheek moment where Wayne is taken into Zorro’s equivalent of the Batcave (‘A secret cave – how splendid!’). The publicity discourse of Zorro further overlaid a level of intertextuality 218   Swashbucklers: The costume adventure series onto the series by describing Zorro as ‘America’s original caped crusader’.6 The most absurd example of this strategy is the episode ‘It’s a Wonderful Zorro’, an homage to Frank Capra’s sentimental classic It’s a Wonderful Life (1946). In

in Swashbucklers
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Duvivier and the 1930s
Ben McCann

which Josette Day changes her clothes behind a curtain is replicated by Claudette Colbert in Frank Capra’s It Happened One Night (1934). Closer to home, Allô Berlin? Ici Paris! nestles alongside René Clair’s contemporary comedies such as Le Million (1931) and Quatorze juillet (1932). Not unlike Clair, Duvivier incorporates sight-​and-​sound gags and a strong dose of anti-​authoritarianism, and combines romance and playful anarchy with darker, more transgressive elements. Coming between the bleakness of David Golder and the existential torpor of La Tête d’un homme

in Julien Duvivier
Peter Marks

Capra meets Franz Kafka. 25 Intriguingly, only the Belfast reference is British (and problematically so). And the very title of the film shifts focus from the hyper-real Britain that Sam seems at times to inhabit to the idyllic world of romance conjured up by a cheesy song. That song underscores how Brazil depicts less a place than a state of mind, an attitude, a utopian destination, and a potentially rebellious

in Terry Gilliam
Andrew Klevan

ending of It’s a Wonderful Life (Frank Capra 1946 US) where George Bailey, a character who has been unfailingly generous throughout his life, is bailed out of trouble by all the townsfolk of Bedford Falls. George Toles argues that the director Frank Capra uses conventions as a way into a scene or situation, a way of bringing them into ‘preliminary focus’; they then ‘shed this easy affiliation with the usual setup and become self-sustaining’ (2001: 57). The film finds ways of unexpectedly ‘sustaining’ the convention of a ‘happy ending’ rather than simply concluding with

in Aesthetic evaluation and film
Nigel Mather

of doubt about the level of political and dramatic significance that could be attributed to these types of comic/romantic rebellion. He pointed out that Hollywood romantic comedies of the 1930s tended to be concerned with such ‘crucial’ (in other words, trivial) ‘issues’ as ‘how to dunk a donut’ correctly in It Happened One Night (Frank Capra, 1934), or the question of ‘who gets custody of the dog in divorce

in Tears of laughter
Tierra (1996)
Rob Stone

and sets them squabbling over women. Tierra is Kubrick by way of Lubitsch, though pulling the wings off angels is a trick that finds Medem in the more immediate company of Frank Capra, whose It’s a Wonderful Life (1946) has the angel Clarence sent to convince a suicidal George Bailey (James Stewart) that the world would be a better place with him in it, and Wim Wenders, whose angel Damiel (Bruno Ganz) in Der himmel über Berlin (Wings of Desire, 1987) searches for humanity in Berlin and finds it in the love of a trapeze artist. The Ángel of Tierra is on a similar

in Julio Medem
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Derek Schilling

qualities of film to communicative ends, the director paints himself a worthy successor to figures like Howard Hawks, Frank Capra, and Otto Preminger, who each considered mise en scène and acting best served by cinematographic restraint. Critics have qualified Rohmer’s classical style as ‘transparent’, an adjective easily misconstrued to mean facile or naïve. Its transparency corresponds, quite to the contrary

in Eric Rohmer