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Desire Io stesso sono dell’epoca di Mann, Proust, Mahler. Sono nato nel 1906 e il mondo che mi ha circondato, il mondo artistico, ­letterario, musicale, è quel mondo li. Non è un caso che mi ci senta ­attaccato. Probabilmente ho anche dei ricordi visivi, figurativi, una specie di memoria involontaria che mi aiuta a ricostruire l’atmosfera di quell’epoca. Oggi è tutto diverso. Se dovessi fare oggi un film ­moderno non so dove andrei a cercare i miei ambienti; mi sembra tutto molto meno interessante, mi sembra, come dire, molto meno stuzzicante. La società europea

in Film modernism
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Sexualities on the move?

frankness and a refreshing casualness. Whether via the shyly fellating male lovers of Scènes de lit (1997), the enthusiastic sodomies of 1995’s La Petite Mort, 1996’s Une Robe d’été, and 2005’s Le Temps qui reste, or the unexpectedly numerous all-star Sapphic couplings of 2002’s 8 femmes, Ozon conveys a world in which same-sex desire is both irrepressible and seemingly ubiquitous. 4 While these

in François Ozon
Exploring gender, anti-racism, and homonormativity in Shamim Sarif ’s The World Unseen (2001) and I Can’t Think Straight (2008)

backdrop is one against which Sarif’s characters routinely struggle, testing the boundaries of officially designated spaces with anti-racist intent, which intersects with issues of female same-sex desire. This chapter offers a combined examination of the conjoined anti-racist, anti-homophobic, and feminist stance of Sarif’s first novel with that of Sarif’s own screen adaptation of it, released in 2008, the same year as Sarif’s film debut, I Can’t Think Straight , and the literary version of the story that was created in conjunction with it

in Queer Muslim diasporas in contemporary literature and film
Towards a cinema of the senses

Love, desire and sexuality, as depicted in the world of Denis’ films, elude the conventional romantic framework that defines and binds them together in mainstream fiction. From Chocolat to Vendredi soir, the sexual and emotional dimension emerges with the contradictions and uncertainty inherent in its complexity, and while they are shown in a melancholy, tentative and sometimes morbid light

in Claire Denis

an auteur, and has made it possible for some critics to polarise his output and make some damagingly judgemental dismissals of key elements of what I am calling his ‘cinema of desire’. Frédéric Bonnaud, for example, has progressively reviewed the feature films for the Parisian culture magazine Les Inrockuptibles, and in 2001, after the international release of Sous le sable, saw his overview of Ozon’s work to date

in Five directors
From Vietnam to the war in the Persian Gulf

In this chapter I want to explore, within a context of culture and power, the complex relations between memory and desire. 1 More specifically, I want to connect 1980s Hollywood representations of America’s war in Vietnam (what I will call ‘Hollywood’s Vietnam’) with George Bush’s campaign, in late 1990 and early 1991, to win support for US involvement

in Memory and popular film
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Consuming desires in the sex comedy 135 Part IV Desire Bedroom problems: Doris Day and Rock Hudson in Pillow Talk (1959). Courtesy of Universal. HRCC06 135 27/4/06, 8:54 AM 136 HRCC06 Desire 136 27/4/06, 8:54 AM

in Hollywood romantic comedy States of the union, 1934–65
Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other

. The role of Goebbels is played for laughs, but his presence harks back to the persistent rumour of Hitler’s affair with Argentina as well as the real Goebbels’ own desire for the Spanish star. Both films offer Argentina/Macarena as a form of Spanish exotica for the upper echelons of Nazi Germany, symbolised by Goebbels, with Argentina/Macarena inspiring a desire for the exotic Other that relates to the original Carmen story

in Screening songs in Hispanic and Lusophone cinema
Buñuel’s technique

–9) On a train journey from Seville to Madrid, a middle-aged man, Mathieu (played by Fernando Rey), recounts the story of his relationship with a young woman, Concha (played by Carole Bouquet and Ángela Molina). He tells of his obsessive attempts to consummate his desire for her and of her alternation between responsiveness and rejection. Through numerous episodes, Mathieu seems to get close to his goal

in Spanish cinema 1973–2010

Hollywood romantic comedy inevitably ends with the union of a heterosexual couple. But does this union inevitably involve marriage? What part does equality play? Are love and desire identical? This book explores the genre's changing representation of the couple, focusing on marriage, equality and desire in screwball comedy, career woman comedy and sex comedy. The shifting discourses around heterosexuality, gender, romance and love are considered in relation to such socio-historical transformations as the emergence of companionate marriage, war-time gender roles and the impact of post-war consumerism. Going well beyond the usual screwball territory, the book provides an understanding of the functions of conventions such as masquerade, gender inversion and the happy ending. This is complemented by a distinctive focus on individual films and their star couples, including detailed discussion of Myrna Loy and William Powell, Katharine Hepburn and Spencer Tracy, and Doris Day and Rock Hudson. The book offers foundational explanations of genre and an analysis of cycles and films.