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Don Fairservice

that time there was no precedent for the public presentation of intimacy; indeed, the notion of an Intimate performance’ would have been regarded as a contradiction in terms. Performance was synonymous with presentation and display; intimacy was unperformable because, before cinema, the means were inconceivable: intimacy – the private exchange of thoughts and feelings – was personal. The theatre was an acceptable platform

in Film editing: history, theory and practice
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Don Fairservice

the film. Pépé has arranged to spend an evening with Gaby alone but she is tricked by Inspector Slimane into staying away. In the Hollywood version, Inès finds Pépé alone and depressed and, realising why, she jealously upbraids him; they argue and Pépé storms out. In the French version, Inès arrives and wordlessly takes in the situation, there is an exchange of looks and Pépé leaves. In scenes involving

in Film editing: history, theory and practice
From Goya’s dining room via Apocalypse Now
Jo Evans

flirtatious or resigned, depending on your point of view, and Medem’s women are similarly split between the flirtatious (the unmarried Catalina) and the resigned (the married Madalem). Characterisation in Vacas is reinforced by exchanged glances and dissolves, and the most memorable of the sexually charged glances is exchanged between Catalina and Ignacio. Ignacio is returning, triumphant, from a wood-chopping competition and

in Spanish cinema 1973–2010
Marie-Line and Chaos
Carrie Tarr

patriarchal organisation of the family, where women are also objects of exchange and exploitation by men, whether in the white working-class family of Marie-Line or the bourgeois and Algerian immigrant families of Chaos . Furthermore, in each case, problematic relations with men and male authority are contrasted with moments of pleasure when the women have time alone together, be it the outing to the beach in Marie-Line or the escape to the sea in Chaos

in Reframing difference
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The postwar child in films
Philip Gillett

quarantine for scarlet fever. On the beach at nearby New Brighton, he tricks a younger boy into giving him a magnet in exchange for an invisible watch, running away when the victim’s grandmother threatens to tell a policeman. Johnny feels guilty. When he tries to throw the magnet away, a policeman retrieves it. In an amusement arcade, Johnny encounters an older youth who uses the magnet to cheat on the pinball machines. Both boys flee

in The British working class in postwar film
The punk scene in Munich, 1979–82
Karl Siebengartner

written about constantly over the years. As the first meeting point of punks, it offered a space of communicational exchange where tensions could be resolved and DIY practised. Local communication Fanzines offered information and a means of communication. In the first issue of Langweil, Bernhard Schornak noted: ‘This is your fanzine, not only mine, meaning if you want a top-notch fanzine, you have to write good articles yourself and send them to me … We need newspaper cuttings and photos too. You can find my address below!’42 Almost all fanzines listed an address to

in Ripped, torn and cut
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Brian McFarlane

manner]. After this there is no further dialogue, just a succession of cups being raised, bearing words such as ‘tease’, ‘desire’, ‘love’, ‘need’; ending with ‘quick’, ‘together’, ‘now’ and ‘mine’, and a cut to the train arriving and an exchange of lips and eyes in close-up. 5 All this happens in 1.36 minutes, and what is odd is that the unnamed actors playing their versions of Laura and Alec might easily have played the real thing! The wife of Brymer Jones’s business partner, Dominic

in The never-ending Brief Encounter
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Martine Beugnet

exchanged by Marc and Aimée in the front. Later, as they stop for lunch, France chooses to remain in Protée’s company. One critic, sensitive to the fairy-tale quality of the story, mentions the Alice in Wonderland feel that the relation between ‘l’enfant lilliputienne et le géant Protée’ (‘the tiny girl and Protée the giant’) calls forth (Lefort 1988 : 44). To the child, Protée is both servant and mentor

in Claire Denis
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Linnie Blake

triumphalism saturated British social life: from the Porschedriving yuppies of the deregulated City of London Stock Exchange to an increasingly rootless working class aspiring to participation in Britain’s new property-owning, share-owning democracy even as nationalised industry and the welfare state were dismantled around their ears. Film culture was not slow to respond to such a perilous state of affairs – numerous films, (many of which were made with the financial support of Channel 4’s Film Four label) despairing at the depths of social injustice, intolerance and hatred

in The wounds of nations
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Stuart Hanson

: In this context the cinema figures as part of the violent restructuring of human perception and interaction effected by industrial-capitalist modes of production and exchange; by modern technologies such as trains, photography, electric lighting, telegraph, and telephone; and by the large-scale construction of metropolitan streets populated with anonymous crowds, prostitutes

in From silent screen to multi-screen