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Andy Birtwistle

career. When scratch was required to provide its own soundtrack, it sometimes adopted techniques from hip-hop, but rarely its specific sound. Much more common was the use of contemporary post-punk rock and pop, produced by British groups such as New Order and Joy Division. In its close association with popular music, scratch was not only informed by, but also influenced the pop video – one of the defining cultural forms of the

in Cinesonica
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Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d’abord
Marja Warehime

lifestyle between the bourgeoise, Frédérique, and the rest of group. Bernard, attempting to rendez-vous with her (accompanied by faithful sidekick Patrick) has to wait for her to get out of mass. She has a car – primly putting on her glasses before she drives off with them – and lives in a large summer beach home where she later invites Bernard to her equally large room to listen to punk rock. She then propositions him, revealing as she undresses a teddy printed with a huge tiger’s head, its teeth bared in a savage snarl. In the final beach sequence, Bernard, having

in Maurice Pialat
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Autobiography and the imaginary self
Michael Leonard

, producing a chiaroscuro effect reminiscent of the paintings of Georges de la Tour. The modesty of the means is evident in a tracking-shot of Jean-Baptiste, Elie and Swann walking alongside a wall surrounded with trees, filmed through the back of a car window. Recorded at a slightly canted angle, the thin strips along the rearview window are visible in the frame. In addition to the principal couple in the film, Garrel incorporates members of the nascent punk scene in France in acting roles, including Elli Medeiros, Edwige and Caroline Paulus (Bambou). This taste for

in Philippe Garrel
Fergus Daly and Garin Dowd

stylistically the Belmondo of A Bout de Souffle and the late punk drifting into the New Romantic so fashionable in the early 1980s. But this is the street punk with both a dress sense and a too-contrived sense of purpose. His clothes are carefully cut and he wants to set up a band; his character is, in a manner of speaking, a cyborg à la mode – as if Besson wanted to absorb a long tradition of purposelessness and despair and turn

in Leos Carax
Susan Hayward

body can be decorated’ or, conversely, ‘it can be cut up to look like a piece of meat’. 24 Self-mutilation, punk hairstyles and dress-codes are markers, not so much of difference, but of the ‘disavowal of the will to queue for work’. 25 Hebdige’s second point concerns the way in which that body is viewed. Since it knows it is being watched, ‘it translates the fact of being under scrutiny into the

in Luc Besson
Barry Jordan and Rikki Morgan-Tamosunas

singer with a punk rock band and Luci, the masochistic wife of a policeman, strike up a sadomasochistic lesbian relationship in a knitting class when Bom arrives and delights Luci by peeing on her. This follows the typical pattern in Almodóvar’s earlier films of confronting the spectator with an unexpectedly explicit sequence at the beginning of the film to disrupt spectatorial complacency and signal the

in Contemporary Spanish cinema
Wildlife documentaries on television
Thomas Austin

, Screen printer/ engraver/sign maker) (M3217) Some viewers were enthusiastic about the roles of presenters (whether ‘experts’ or celebrities from other realms of popular culture) in fronting wildlife footage and so inviting particular emotional and cognitive responses to it. Others objected to presenters getting in the way of the animals on screen. In 2004 the former punk rock singer John Lydon capitalised on his recent appearance 07chap six.p65 153 6/28/2007, 10:40 AM 154 Watching the world in ITV’s successful reality television series I’m a Celebrity Get me Out

in Watching the world
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Martine Beugnet

tradition and postmodern cool: a mix of old and new instruments to play variations on the traditional Bikutsi music, and a combination of body painting and shaven heads in the punk style. Denis planned to feature the group and their music in Chocolat, but was unable to do so due to copyright problems. After the completion of Chocolat, however, she managed to put together the necessary resources for a documentary shot with

in Claire Denis
Basil Glynn

fact whilst paying its chief respects to fiction. Put more simply, what is presented as fact is, in fact, fiction.’ 71 27 Henry VIII (Jonathan Rhys Meyers) as a ‘punk-rock’ ruler in The Tudors (Showtime, 2007–10). The disregard for historical veracity in Hirst

in The British monarchy on screen
Open Access (free)
Mandy Merck

(Showtime, 2007–10) with a loose pretext for a dramatic update in screen persona, exchanging the ageing fatty in the feathered hat for a punk potentate with pectorals. Chronicling the long history of Henry films, Basil Glynn charts the international appeal of an English monarch impervious to the English virtue of ‘fair play’. The Tudors ’ abiding allure of murder and multiple marriages, as enacted by a multi-national cast against

in The British monarchy on screen