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Richard Rushton

_07_Ch6.indd 154 31/08/2010 09:34 Filmic reality and ideological fantasy  155 in the imaginary. Žižek explains that, by way of the example of a young girl eating a strawberry cake – for it is purportedly Freud’s daughter who provides the crucial example – what is at stake is not just the relation between this young girl and her imaginary fantasy of eating a strawberry cake. Rather, what emerges as vitally important is the way that this fantasy attracts the interest of others, of the girl’s parents. As Žižek puts it, the crucial feature here is that while she was

in The reality of film
David Murphy and Patrick Williams

short films, Le Franc and The Little Girl who Sold the Sun (the first and second parts of an incomplete trilogy on the ‘ordinary people’ of Dakar: Mambety died before he could film the third part, The Apprentice Thief ). Both films are more optimistic than Hyenas : in Le Franc (1994), the musician-hero’s success in winning the lottery is viewed in almost dreamlike terms, promising a blissful (and musical) escape from

in Postcolonial African cinema
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

both a beur and a French audience. The pleasure in and solidarity of their good-natured, buddy-like friendship is represented through a series of shared experiences, including the crimes they carry out together (stealing, mugging, pimping), and moments of relaxation (drinking, going out with the gang, picking up girls). It is underlined by the sacrifices they make for each other: Madjid walks out on an admittedly boring factory job to join Pat who has been

in Reframing difference
Demonising controversy in The Last Temptation of Christ and The Passion of the Christ
Karra Shimabukuro

, and the beating brief. As he did in the beginning of the film, Jesus carries only the crossbeam of his cross, and begs people not to leave him, a very human cry. He is crucified naked, the sky darkens, the roar of the crowd becomes muted, then almost silent, and a girl appears. This character says that she is the angel that guards Jesus, that when God saw he was suffering he sent her down to save him because, ‘your father is the God of mercy, not punishment’. She removes the nails, and takes him down off the cross. Jesus asks, ‘I don’t have to be sacrificed? I

in The Bible onscreen in the new millennium
Spanish horror
Paul Julian Smith

El laberinto del fauno/Pan’s Labyrinth takes place in 1944, the fifth year of peace following the Civil War, and recounts the exciting journey of Ofelia (Ivana Baquero), a young girl of 13, who along with her mother, Carmen (Ariadna Gil), whose condition is frail because of her advanced state of pregnancy, moves to a little village where Vidal (Sergi López) is based. He is a

in Spanish cinema 1973–2010
Carrie Tarr

girl by her side, waving a red flag and then loading a Kalashnikov, against a background of images of international revolution and a rap accompaniment. The sequence ends with her pointing handguns at both her head and heart and closing her eyes (followed by a fade to black and the sound of an offscreen gunshot). Reprised near the end of the film, this excessive image of potentially self-destructive female violence can perhaps best be read as a sign of the film

in Reframing difference
Thinking infantile eroticism
Victoria Best and Martin Crowley

ethical dimension and those that quite blatantly exploit child sexuality would appear to be a couple of year’s difference in the age of the (girl) child protagonist. As soon as a child – and in these texts the child is always female – has entered what might be considered adolescence it is notable how the tone of the writing alters to become more salacious. It is also notable that the authors of such eroticised texts tend to be

in The new pornographies
Tattoos, the Mark of Cain and fan culture
Karin Beeler

and the ‘criminal’ Mark of Cain. I will also address how the show incorporates intertextuality, references or allusions to other iconic or canonical texts (literature or film) and elements of popular culture to reinforce images of tattooed bodies. These include The girl with the dragon tattoo (a Swedish crime novel that was published posthumously and has been adapted into film), the Star wars films, The wizard of Oz (novel and film) and the Bible ( Book of Genesis ). An examination of how these production and intertextual elements cross over into the fan

in Tattoos in crime and detective narratives
Abstract only
Nigel Mather

close, and Beckham, himself, left Britain for Real Madrid to pursue his own ‘footballing dreams’ in the summer of 2003. In both Bend It Like Beckham and Anita and Me (Meera Syal’s adaptation of her novel about an Asian girl growing up in the Midlands during the 1970s), a racist remark or action by one of the (female) characters is not presented as funny, or as an example of comic banter which need not be taken too seriously

in Tears of laughter
Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other
Ann Davies

Hitler watched Argentina’s earlier film Nobleza baturra (Aragonese Virtue, Florián Rey, 1935) at least fourteen times (Ruiz and Fiestas 1981 , 46) although Terenci Moix, in his overview of Argentina, has the figure as twenty-four times ( 1993 : 74). The invitation from Hitler and Goebbels resulted in two films directed by Rey and starring Argentina, Carmen, la de Triana (Carmen, the Girl from Triana, 1938) and La canción de

in Screening songs in Hispanic and Lusophone cinema