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Criminal minds, CSI: NY and Law and order

apparently mainstream commercial present. Tattoos function as symptoms of a psychological and social deviance commodified in the construction of crime as entertainment, but also as signs of a self-confident and empowered youth culture closely linked to tattooing’s subcultural origins. The ostensibly divergent roles of tattooing as atavistic outsider art and emergent fashion become difficult to disentangle. This chapter offers three case studies of the depiction of tattoos in North American TV crime drama in order to interrogate these multiple

in Tattoos in crime and detective narratives
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’s paranoid doubts evaporated and (as usual) gave way to enthusiastic commitment. In late April, early May 1973, prior to its release in Britain, he submitted to numerous interviews with press journalists and recorded others for radio and television. 62 Later he, McDowell and Price flew to New York to repeat the exercise with the North American press. The most thorough and insightful of these interviews (such as Robinson’s for The Times 63 and Rex Reed

in Lindsay Anderson

’s imaginative input had revitalised and re-envisioned his play. Release The film’s release in North America swiftly followed its completion, but British screenings did not. Impatient to let the work be shown to domestic audiences and doubting that Landau’s company would organise a season, Anderson wrote to Plaschkes in May 1975 proposing that they organise a ‘Pirate Press Show’ to remedy the

in Lindsay Anderson
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Brasilidade and the rise of the music documentary

on brasilidade , race and even on the value of Brazilian music is constructed in Coração vagabundo , a mixture of biopic and concert movie that charts Caetano Veloso’s 2003 tour of Brazil, North America and Japan. Veloso is known in Brazil for continuously defying his audience’s expectations by exploring new musical paths, and this aspect of his work is well captured in this film. It opens with a flashback

in Screening songs in Hispanic and Lusophone cinema
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An American independent film made by Mexicans

companies, the North American location, with most of the film shot and set in Memphis, and the use of (American) English. In addition, although the film relies on a multinational cast, with the American Sean Penn, the Australian Naomi Watts, the Puerto Rican-born Benicio del Toro, the British Eddie Marsan, and the Anglo-French actress Charlotte Gainsbourg, they are all actors who have largely formed their careers in the USA (with the exception of Gainsbourg, whose casting helps place the film within the art cinema end of independent filmmaking). The film’s themes

in The three amigos

stories. It is made by a transnational director, and features transnational stars (Brad Pitt, Cate Blanchett, and Gael García Bernal).8 It can also be seen as a film that fits within the concept of a cinema of globalisation, as explained above. Babel takes some of the most pressing contemporary social issues in its attempt to make a film about ‘the world’; nevertheless, as befitting a Hollywood world cinema text, it privileges a North American point of view, even when it appears not to. While the film has a focus on non-Western cultures, the shadow of US socio

in The three amigos
Penélope Cruz and Javier Bardem acting strangely

balance between critiquing and colluding in North-American cinema’s representation of European cities in terms of mere pictures or as ‘cities of containment’, commodities, ‘objects’ (Schonfield 2000 ). Later we shall see that this positioning at a point of ideological ambivalence echoes the patterns of sexual politics in which their characters are enmeshed. As Schonfield suggests

in Spanish cinema 1973–2010
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This collection analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. We start from the

in Contemporary Spanish cinema and genre
From Le Thé au harem d’Archimède to Cheb

The theoretical debates informing British and North American analyses of the representation of ‘new ethnicities’ in popular culture have been largely absent from French discourses on race, immigration and national identity. 2 The French academy has remained impervious, if not hostile, to the development of critical theories on the construction of the subject which have fed the political agenda informing both cultural studies and women

in Reframing difference

A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.