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Rowland Wymer

. Although Jarman often spoke of The Angelic Conversation as if it were an attempt to film Shakespeare’s sonnets, it is clear from his own accounts of the film’s genesis that the fourteen poems, read by Judi Dench, were something of an afterthought, a belated attempt to bring some structure and drama to a series of technically contrived lyrical effects. Understandably, most discussion of the film, Jarman’s own favourite among his

in Derek Jarman
Point of view and communication
Author: James Zborowski

This book explores the theoretical and critical concept of filmic point of view. Its case studies are six acclaimed and accomplished instances of ‘classical Hollywood cinema’: Mr. Deeds Goes to Town (Capra, 1936), Only Angels Have Wings (Hawks, 1939), Letter from an Unknown Woman (Ophuls, 1948), Vertigo (Hitchcock, 1958), Anatomy of a Murder (Preminger, 1959), and The Man Who Shot Liberty Valance (Ford, 1962). The book’s particular contributions to the study of filmic point of view are to use ‘communication’ as an idea which permits new ways of approaching this topic, and to offer detailed explorations of the filmic representation of character experience (including character ‘consciousness’ and interaction), and of the relationship of film to other media of communication (especially print media and the novel). With respect to character experience, it is argued that the often-held distinction between an inner realm of thought and feeling and an outer realm of behaviour and objects fails to do justice to the human experience of ‘being-in-the-world’ and film’s ability to represent it. With respect to film’s relationship to other media, it explores the traversing of the public, the private and the social that narrative fiction film represents, in a way that aligns the medium with the novel. The book is offered as a demonstration and defence of the value of a ‘conversational’ critical method that entails detailed scrutiny of our film-viewing experiences and of the language we use to describe those experiences, and eschews the construction of a taxonomy designed for general applicability.

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Sam Rohdie

after a cyclist, throws offal to the pigeons, and where he dies. The spaces are the other side of each other and the contrary of one another: the interior is closed, social (meetings, eroticism, conversations), the exterior is open and anti-social (private, hostile and misanthropic). Between the two is the bus that he travels in from one space to another. The bus space is simultaneously immobile (a fixed interior) and mobile (a moving exterior as the bus moves) as well as social (encounters) and private (isolation). Monteiro plays within this simple structure where

in Film modernism
Lynn Anthony Higgins

wife’s nickname for him. Bear, yes. Little, no. Nothing about Tavernier is small: large and ungainly, his presence is nevertheless imposing not because of size or an imperious style, but by the scope and grandeur of his enthusiasms. He possesses the legendary Lyonnais gourmandise matched by an appetite for knowledge, for books, for movies, for experience, for friends, for conversation (especially about the cinema), and for involvement in controversies. He might be intimidating, were he not so genuine and likeable, so generous

in Bertrand Tavernier
The Servant (1963), Accident (1967) and The Go-Between (1971)
Colin Gardner

war. Yet this is never a direct assault, for Pinter’s conversation often comes across as light, oblique badinage, a verbal smokescreen designed to block communication rather than encourage it. This accounts for Pinter’s fondness for both verbal and physical games – the improvised ball game on the stairs in The Servant , and the recurring tennis and cricket matches in Accident and The Go

in Joseph Losey
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

Our contribution to this volume offers an analysis of contemporary Cuban women filmmakers in whose work we see direct and indirect conversations with Sara Gómez (1943–74), whose 1960s–1970s film practice revolutionised the way in which the gender–nation–revolution nexus could be argued cinematically. Sandra Gómez, Susana Barriga and Gloria Rolando work at the intersection

in Hispanic and Lusophone women filmmakers
Rowland Wymer

Beckton seemed destined for this music’. 2 Despite his deep imaginative engagement with both Owen’s poetry and Britten’s use of it, the copyright charges Jarman had incurred when using short extracts from other Britten works in Imagining October and The Angelic Conversation had deterred him from any attempt to film the War Requiem . However, Don Boyd, the producer of Aria , was able to convince both the Britten estate and

in Derek Jarman
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Author: Lisa Downing

Patrice Leconte appears to the world as a Janus-faced figure. On the one hand, he seems to wear the mask of the populist comfortably. On the other hand, one might argue, his credentials could not be more highbrow. He served an apprenticeship at the prestigious IDHEC (Institut des hautes études cinématographiques) and spent his early days working as a critic for Cahiers du cinema. This book explores Leconte's use of comedy as a strategy for negotiating and navigating the subject's passage through the world. It examines Leconte's representations of masculinity in relation to the rich and under-explored concept of the 'masculine masquerade', a term taken from psychoanalytic theory. During the year of preparation for the concours, he enjoyed rich pedagogical experiences, including visiting lectures by canonical names of French cinema such as Jean-Claude Carrière, and he relished the hands-on approach to the study of cinematography. The book also examines the criticism often levelled at Leconte's cinema that it is excessively fetishistic and reveals a bias of misogyny. It focuses on Leconte's most recent films, La Fille sur lepont, La Veuve de Saint-Pierre, Felix et Lola and Rue des plaisirs, which have in common a focus on unconventional relationships between men and women. For many film critics and cinemagoers , Leconte's corpus divides neatly between the comic films of his 'apprenticeship', such as those made in collaboration with the Splendid company, and his mature, 'serious' output, usually thought to begin with Tandem in 1986.

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Author: Rowland Wymer

Michael Derek Elworthy Jarman as a true 'Renaissance Man' in the colloquial sense of the word, as well as having a strong and permanent interest in the art, thought, and literature of the Renaissance. Although the tone of Jarman's films is frequently melancholic, the threat which death poses for desire is sometimes modulated by an apparent desire for death. He was never comfortable with the label 'gay', regarding it as both too stable and too self-satisfied, too concerned to present a 'positive' image. He preferred the more fluid and mobile term 'queer'. Jarman's first feature-length film was remarkable in many ways and in at least three respects was virtually unique at the time for a commercially distributed picture. In 1977, the year of the Queen's Silver Jubilee, punk had spread beyond a handful of clubs and bands in London and New York and was starting to look like a complete new youth culture in the making. From 1978 to 1985, whatever else he was engaged in, Jarman's life was dominated by his desire to make a film about the life of the Italian painter Caravaggio. Wittgenstein had been a completely unexpected commission which Jarman, despite his failing health, had rapidly and brilliantly converted into 'A Derek Jarman Film' through his usual intense personal identification with his subject. Blue was one of a cluster of films addressing the issue of AIDS which were released in the early 1990s.

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Kathrina Glitre

Marriage, remarriage and screwball comedy 39 Part II Marriage Private conversation: Myrna Loy and William Powell in The Thin Man (1934). Courtesy of Turner Entertainment. HRCC02 39 27/4/06, 8:51 AM 40 HRCC02 Marriage 40 27/4/06, 8:51 AM

in Hollywood romantic comedy States of the union, 1934–65