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Alison Tara Walker

the late Romantic style, reinforced the connection’ between films and romantic music; whether using pre-existing orchestral arrangements or relying on composers of the day to write new symphonic pieces for films, classical Hollywood cinema ‘adapted the late-romantic orchestra of ninety-plus players for the recording studio’. 12 Not only did romantic music rely on a large orchestra, its emotional qualities and

in Medieval film
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Fin-de-siècle gothic and early cinema
Paul Foster

/being looked at; a kind of fictional anticipation of the shot/reverse shot of classical Hollywood cinema, in fact. The sort of contemplative absorption embodied by the aesthete Wotton is possible the morning after, as Gray gazes at the portrait ‘with a feeling of almost scientific interest’ (Wilde, 2003 : 93). But it is provisional. His detachment collapses with the thought that the picture has

in Monstrous media/spectral subjects
Fact, fiction, and film
Kevin J. Harty

(ed.), The Vikings on Film: Essays on Depictions of the Nordic Middle Ages (Jefferson: McFarland & Co., 2011), pp. 193–214 (210–11). More recent discussions of the film can be found in Arne Lunde, Nordic Exposures: Scandinavian Identities in Classical Hollywood Cinema (Seattle: University of Washington Press, 2010), pp. 17–26; and in Jón Karl Helgason, Echoes of Valhalla: The Afterlife of the Eddas and Sagas , trans. Jane Victoria Appleton (London: Reaktion Books, 2017), pp. 163–71. 3 See H. T. Kalmus, ‘ Technicolor adventures in Cinemaland ’, Journal of

in From Iceland to the Americas
Marie Mulvey-Roberts

are faced with the intersection of cinema, stage and television, an intermedial reflection with carnavalesque overtones that re-examines the relationship between Shakespeare and Hollywood, as Carter explains in a 1988 review of The Classical Hollywood Cinema: ‘Hollywood was, still is, always will be, synonymous with the movies. It was the place where the United States perpetrated itself as a universal dream and put the dream into mass production’ (Carter, 1997b: 385). Hollywood was a place where ‘scandal and glamour’ were ‘an essential part of the product’ (Carter

in The arts of Angela Carter
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Female body hair on the screen
Alice Macdonald

(Patricia Hodge) arrives in her white Rolls Royce clad in a gleaming evening dress which clings to her feminine figure, displaying a fragile and glamorous beauty which evokes the ‘perfect product’ – the immaculately groomed stars of classical Hollywood cinema. It is not until Mary and Bobbo are locked in a lover-like conversation that we are introduced to Ruth (Julie T. Wallace), who, as Bobbo’s conscientious wife, is offering drinks around. She towers over them – her height exaggerated because she is standing and they are sitting on a low settee. Dressed frumpily in a

in The last taboo
Anu Koivunen, Katariina Kyrölä and Ingrid Ryberg

). Vulnerability and Human Rights. University Park: Pennsylvania State University Press. Tyler, I. (2013). Revolting Subjects:  Social Abjection and Resistance in Neoliberal Britain. London and New York: Zed Books. Vaittinen, T. (2015). ‘The power of the vulnerable body’, International Journal of Politics, 17:1, pp. 100–​18. White, P. (1999). Uninvited:  Classical Hollywood Cinema and Lesbian Representability. Bloomington, IN: Indiana University Press. Wiegman, R. (2014). ‘The times we’re in: Queer feminist criticism and the reparative “turn” ’, Feminist Theory, 15:1, pp. 4

in The power of vulnerability