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Martin O’Shaughnessy

) also in 2001, and the Jean Vigo prize for best short film given to his Tous à la manif in 1995. These awards together underlined Cantet’s French reputation and growing international stature, something that certainly helped him obtain backing for his multilingual Franco-Canadian Vers le sud (Heading South; 20061) with its stars (Charlotte Rampling and Karen Young), and the recent Foxfire: Confessions of a Girl Gang (2012), which hit the festival circuit in September 2012 – another Franco-Canadian co-production. A filmmaker whose stature and international appeal feeds

in Laurent Cantet
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Steven Peacock

in contemporary society. Political discourse is deeply embedded in the pieces, as they raise pertinent questions of international responsibility, civic duty, humanism, and humanitarianism. After the current craze for all things Scandinavian – from The Girl with the Dragon Tattoo to The Killing and the knitted jumpers worn by its central protagonist Sarah Lund, to Michelin-starred Danish restaurants – has inevitably died away, Sweden’s place in the world as expressed artistically in film and television (or film-as-television) will, I predict, remain tantalisingly

in Swedish crime fiction
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Colin Gardner

1 Percy struts his stuff beside the Alford House Youth Club cricket nets in Free Cinema’s We Are the Lambeth Boys , the second in the Ford Motor Company’s ‘Look at Britain Series’ 2 The Lambeth girls engage in some friendly banter with the lads at the

in Karel Reisz
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Steven Peacock

away from the stuffy confines of Hirayama’s office, and adds breeziness inside the family home. The sequence opens in the street: sun-dappled and drowsy. The young girl’s arrival wakens the setting. A shiny teal taxi draws into the street [see plate 9 ]. The colour of the car brings out the greens of the trees lining the street: new meets old. It also hints at Yukiko’s youthful influence, stimulating but still green. On the

in Colour
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Trans-Europ-Express, L’Eden et après, Glissements progressifs du plaisir
John Phillips

Robbe-Grillet corpus (pretty young girls, blonde hair, half-open mouths, blue eyes). These stereotypes are always employed with self-conscious irony. In Trans-Europ-Express , for example, the actor Trintignant, alias Mathias (the name of the paedophile and murder suspect of Le Voyeur ), alias Jean, follows the beautiful spy and prostitute, Eva, to her room, ties her wrists to the bed, ‘rapes’ her – she

in Alain Robbe-Grillet
Creating a cultural phenomenon
Matthew Pateman

. Art and feminism, the two things in the world of which Whedon is most proud, are at the forefront of the opening of Buffy . The show's premise, derived from the original movie, is that the person who is routinely the victim in horror films – the blonde girl – becomes the hero. Whedon says, ‘I want to see the movie where she walks into a dark alley, a monster attacks her, and she just wails on him

in Joss Whedon
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Steve Chibnall

, this may seem quite mad to you, but I’ve got a terrific hunch. I want to make a switch and change the little boy into a little girl. I know it’s right. The whole story will be much more touching and moving in every way.’ – ‘Well, I can see that’s possible’, I said, ‘but isn’t it a bit late for a major change? It’s a difficult part. A star part really. The

in J. Lee Thompson
Philip Gillett

represent the respectable working class, whose world is disrupted by rougher elements such as Gwen in Good Time Girl (d. David Macdonald, 1948). Crime fragments the community in The Blue Lamp, with police, delinquents, ‘real’ criminals and the rough working-class pursuing separate agendas, yet the final scenes of the film tell another story. At least in films, a crime such as murder can override differences, encouraging

in The British working class in postwar film
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Adventures in reality: why (punk) fanzines matter
Matthew Worley, Keith Gildart, Anna Gough-Yates, Sian Lincoln, Bill Osgerby, Lucy Robinson, John Street and Pete Webb

Anthem and Poison Girls’s The Impossible Dream, titles such as Acts of Defiance, Anathema, Introduction -3- Enigma, New Crimes, Pigs for Slaughter, Scum and Toxic Graffitti [sic]11 mixed limited music coverage with political tracts on subjects that included militarism, squatting, feminism, vivisection and the various structural props of ‘the system’.12 The presentation of punk-informed fanzines also brokered experimentation. Where the first edition of Jon Savage’s London’s Outrage (1976) interspersed media clippings with pop cultural references and an essay

in Ripped, torn and cut
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Genesis of Carax’s system
Fergus Daly and Garin Dowd

amassing the elements designed to authenticate his claims to auteurism. By the time of the release of his first feature Boy Meets Girl (1984) the mission will be accomplished. These are: a common band of artists and technicians; thematic consistency; credible intertextual references. Part of the auteurist aspirations of the young Carax involves the acquisition of certain indices that make his world an immediately identifiable one. The character of

in Leos Carax