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Emma Wilson

The films which Resnais has made since the early 1990s, Smoking and No Smoking (adaptations by Agnès Jaoui and Jean-Pierre Bacri of Alan Ayckbourn’s plays Intimate Exchanges), On connaît la chanson (an original script by Jaoui and Bacri, distinguished in particular in its use of popular songs) and finally Pas sur la bouche (an adaptation of a 1925 operetta by André Barde and Maurice Yvain

in Alain Resnais
class and the politics of impulse in Time Without Pity (1957), The Gypsy and the Gentleman (1957), Blind Date (1959) and The Criminal (1960)
Colin Gardner

violence and its corollary, exchange value. These spectres are linked either through the outward symptom of alcoholism (David, Alec and Mrs Harker), the seductive power of Stanford’s money (a common lure for Honor, Brian, Vickie Harker and Jenny Cole), or more marginalized ‘vices’, such as Stanford’s obsession with sports cars and speed, and Brian’s repressed homosexuality. 15 More importantly, the film

in Joseph Losey
Renate Günther

of the gaze in mainstream cinema by filming women looking at women. But, unlike the objectifying male gaze, the exchange of looks between Nathalie and Isabelle expresses their longing for closeness and inclusion, as they try to go beyond the divisions among women within the Symbolic order. 7 Given that women have been excluded from both the dominant culture and language, it is perhaps not surprising that in Duras their

in Marguerite Duras
James Zborowski

Letter from an Unknown Woman. Both films feature near their ends a climactic face-to-face exchange between the pair, characterised by obstructions rather than by perfect communication, obstructions which have to do with a reticence regarding ‘asking’ or ‘telling’. In Only Angels Have Wings, Bonnie/Jean Arthur declares her intention to leave Geoff/ Cary Grant and the South American sea port where he lives and works because ‘no-one asked [her] to stay’. In Letter from an Unknown Woman, Lisa/Joan Fontaine, who has measured her life by the moments she has had with Stefan

in Classical Hollywood cinema
Douglas Morrey and Alison Smith

’s voice records what is taking place there although we do not look through the window. At times a daring montage of sound can transcend all barriers and bring the theatre into the rooms of the flat to enter into verbal exchange with Claire. There seems to be an understanding in L’Amour fou – unlike in some other films where the act of performance may take possession of any space offered to it – that the action and

in Jacques Rivette
Douglas Morrey

death’ (Haycock 1990 : 68–9). A brief exchange between Paul and Robert makes this clear: PAUL: Tu as remarqué que dans le mot ‘masculin‘, il y a ‘masque’ et il y a ‘cul’? ROBERT: Et dans le mot ‘féminin’? PAUL: Il n’y a rien. 10 The suicide that ends ‘La Femme de Paul’ also

in Jean-Luc Godard
Bleak Moments
Tony Whitehead

on a group of characters who cannot communicate, for whom talk is ‘an evasion of what’s going on’, in the words of the central figure Sylvia (Anne Raitt), and Leigh makes us sit through their various encounters and conversations – frequently non-conversations – in their excruciating entirety. The point – that all the characters, to varying degrees, have problems in expressing their feelings and saying what they really mean – could have been conveyed in a few representative gestures, actions or exchanges, but Bleak Moments never resorts to that kind of dramatic

in Mike Leigh
For Whom the Bell Tolls
David Archibald

the characters in silhouette; for instance in the opening train-blowing sequence and in the early exchange between Jordan and Golz. The film concludes after the bridge has been successfully destroyed, but not without consequences: two group members are killed and Jordan is wounded. The Nationalists, moreover, have learned of the Republican plans and the offensive appears doomed. As the remaining group members attempt their escape, Jordan, facing certain capture or death, stays behind to face the arriving Nationalist soldiers. As the enemy approaches, he turns his

in The war that won't die
patterns of the past in Vacas/Cows
David Archibald

son, Juan, only to be shot in the neck minutes later. Yet his dying words, ‘I’m not dead’, suggest a belief in his own immortality; that the transfer of his genes to his newborn son will ensure that he continues in some form. By taking the blood from Carmelo’s fatal wound and smearing it across his face, Manuel creates a blood tie between the two families, forewarning of the conflict that will befall them. Following his re-birth from a cart of broken and bloodied dead bodies, there is an exchange of glances between Manuel and a white cow before the camera cuts to an

in The war that won't die
The mise-en-scène of mise-en-scène
Peter Buse, Núria Triana Toribio and Andy Willis

authentic or just a way of mesmerizing credulous police and other audiences, as the following exchange with Perdita suggests: Romeo taps ashes from a cigar in the bath P: I wish you wouldn’t do that. 4795 CINEMA - PT/gk.qxd 12/1/07 Crimen ferpecto (2004) 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 10:04 Page 173 173 R: Why not? It scares evil spirits away. P: I don’t believe in that voodoo bullshit. I doubt if those people did either. R: It’s not voodoo, it’s santería, it’s not the same. P: Little

in The cinema of Álex de la Iglesia