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Andrew Spicer

cultural phenomenon? The current internationalism of the film industry is nothing new – there has always been a degree of exchange and interpenetration between European and American cinemas. 40 However, there are strong grounds for understanding film noir as a particular and intense form of this general process. In their Introduction to a volume devoted to the European precursors of film noir, Janice Morgan and Dudley Andrew argue

in European film noir
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Sam Rohdie

camera to later separate itself from him when Aschenbach’s glance rests on Tadzio and the camera comes full circle to look at Aschenbach looking, becoming ­objective and detached from him. The play between the objective and the ­subjective is a constant feature in Visconti, a shifting of perspectives and points of view and, at extraordinary moments, superimposing them as in the lounge scene in the Hôtel des Bains. It is the perfect expression of the choreography and exchange between the close (subjective, ­desirous, longing, imaginary) and the distant (objective, out

in Film modernism
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Sam Rohdie

the cinema of the 1930s, films of story pre-eminently whose sense was conveyed by dialogue (as in the theatre) and by binding the audience, imaginatively, into dialogic relations by a system of shot and counter-shot that captured an audience into exchanges between characters. The radicalism of the theatre compared to the conservatism of the cinema in the early 1930s mirrored a situation that was true in the first few years of the cinema’s history. The term mise en scène began to be Mise en scène 133 used in France for new theatrical practices in the late

in Film modernism
Arthur Seaton and the arc of flight
B. F. Taylor

he threw a stone and he tells her that he does not know. He also tells her that it will not be the last one he throws. This new exchange between them is revealed in a series of alternating close shots, and the tightness of the framing seems to contradict this final expression of personal freedom. (In fact, this brief series of close shots can be used as further evidence of Arthur’s ‘adjusting’ by appearing like a succession of photographs. You can almost picture them framed and sitting on the mantelpiece of the new house they will move into.) With all the evidence

in The British New Wave
Background and early filmmaking
Darren Waldron

water to remove the gelatine and then drew his reconstitution of an air battle, entitled Le Pont de Mauves, which he screened to his family. In 1945, he exchanged a Meccano set for a 9.5mm Pathé-Baby manual camera in a second hand shop in the Passage Pommeraye and embarked on his first non-animated production, L’Aventure de Solange, about a young girl kidnapped by fairground workers who is rediscovered by her parents twenty years later. Sadly, the reel was returned from the developers blank due to overexposure. Undeterred, two years later, Demy convinced Milou to buy

in Jacques Demy
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Felicity Chaplin

’ of the puppy which incessantly follows Jean, Jean replies: ‘Toi aussi t’as une belle tête, tiens t’es belle et tu me plais, sans blague t’es pas épaisse mais tu me plais’ (You too you got a pretty head; look, you’re pretty and you’re easy on the eye, no joke you’re not well built but you’re all right). The framing of their initial meeting and the exchange of looks between Jean and Nelly is reminiscent of the archetypal first encounter between the American film noir hero and the femme fatale, particularly between Cora (Lana Turner) and Frank (John Garfield) in The

in La Parisienne in cinema
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Jay Beck and Vicente Rodriguez Ortega

originating source of, aesthetic mutations and textual complications’ ( 2000 : 221) Films must be thought of in constant dialogue and exchange with the social context of their production, since aesthetic and ideological systems of signification act upon one another and cannot be dissociated. Moreover, the purity of genres has not only been contested but also summarily debunked and left aside as a limiting paradigm for a critical

in Contemporary Spanish cinema and genre
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David Murphy and Patrick Williams

who gather at the public water pump to exchange gossip find no subject too grim for humour: they laugh raucously when they hear that Good for the Dead has had his penis shrunk by a stranger; Saturday’s liaison with Myguy is the subject of further mirth; and Mad Dog’s decision to throw Sytsalla, his wife and the mother of his children, out of the house leaves them in hysterics. In essence, the film creates a dark, but cartoon

in Postcolonial African cinema
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Lynn Anthony Higgins

instead with the title of the film and goes straight to a tracking shot across the misty twilight bayou to the first murder scene. Robicheaux exchanges a few words with the coroner, turns away to cross himself, and then says in voiceover: In the ancient world, people placed heavy stones on the graves of their dead, so their souls would not wander and afflict the living. I always thought this was simply the practice of superstitious and primitive people. But I was about to learn that the dead can hover on the

in Bertrand Tavernier
Abstract only
Tom Ryall

’s knowledge of European cinema and on his collaboration with the lighting expertise of Karl Fischer. When Nell meets Bill in the underground for the second time, they sit together at the bottom of the emergency staircase enjoying a somewhat chaste exchange while arranging a date. During the course of this, the camera moves away from them to reveal the shadows of another couple embracing and finally kissing. The style of presentation, the shadows, evoke the German cinema though the juxtaposition with the muted exchange between Nell and Bill is more in the spirit of

in Anthony Asquith