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Interiority, claustrophobia and decadence in cosmopolitan London cinema of the 1960s and 1970s
Kevin M. Flanagan

about violence and dislocation ( Repulsion , Performance ), the centrality of outsider perceptions of the city (expatriate filmmakers or filmmakers new to London) and themes that recur frequently (a bunker-like reliance on the home, conservative tropes to do with the fear in the interloper or the crowd, fears of entrapment). There is a comparable discourse focused on inner spaces from British writers of the time, a trend that illustrates how the outside version of private space coincides with observations by long

in Global London on screen
Gemma King

France to dominant French cultures and norms, but also to a multiplicity of cultural groups, diasporic neighbourhoods, migrant employment opportunities and public institutions. The number one tourist destination in the world, it is not only a magnet for French and migrant groups, but for expatriates, exchange students, diplomats and other creative or specialised workers from around the world. Chapter 4 (‘Capital centres: Polisse and Entre les murs’) explores the ways in which once-marginalised languages can occupy this contentious urban space, and renegotiate the

in Decentring France
Abigail Susik

complex ways with what might be called its countercultural characteristics, its affinities with the international popular youth culture of the period. The film’s interest in this narcotic or psychedelic branch of the avant-garde as a complement to what Jonathan Eburne calls the ‘esoteric avant-garde’ is in part also a critical commentary on the influx of expatriates who moved to Mexico in search of spiritual psychedelic experiences. 31 This counterculture invasion arguably impacted the suspicion of jipismo , the Mexican hippie movement of la Onda , during the Luis

in Surrealism and film after 1945
Quentin Falk

, Alexander Korda, born Sandor Laszlo Kellner, and his much-travelled cinematic troupe, principally fellow expatriates like his brothers, Zoltan and Vincent, as well as scenarist Lajos Biro, finally fetched up in England at the turn of the 1930s. ‘If Korda had not come to England, the British cinema of the thirties,’ noted Karol Kulik, one of his biographers, ‘might well have taken a different course. For the rest of his career, Korda brought ambition, recognition, imagination and glamour to an industry that needed his optimism and his showman’s talent.’ 5 The essential

in Charles Crichton
Jason Statham as postmodern hero
Robert Shail

) further developed the character, whether as policeman or criminal, making him one of the most popular British actors with domestic audiences in the period. His persona combined aspects of the established American tough guy such as Robert Mitchum, unusually for a British star at the time (he did much of his best work for two expatriate American directors – Cy Endfield and Joseph Losey), alongside a soulfulness

in Crank it up
A lost epic of the reign of Victoria
Jude Cowan Montague

America on national grounds, claiming that Victoria for the English was as Napoleon for the French, characters that may be a great draw for their respective colonies and expatriates but of no interest to Americans. ‘The Victoria film for America should be sent through Canada. It was probably built for England. England and her possessions are where this feature belongs.’ 66 The US release of Sixty Years a

in The British monarchy on screen
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Not to be crossed
Andrew Roberts

of on-screen relationship, her male screen partners tending towards the equally unorthodox – Morley, Alastair Sim in The Happiest Days of Your Life or Richard Hearne in Miss Robin Hood . Her real-life husband Stringer Davis frequently had small roles in her pictures, most notably as Arbuthnot, the expatriate Englishman obsessed with painting the Mona Lisa in Innocents in Paris (Gordon Parry 1953). The scene in the Louvre is a high point of the picture, with Rutherford’s Gladys Inglott instinctively understanding the impetus that keeps the artist in France

in Idols of the Odeons
patterns of the past in Vacas/Cows
David Archibald

survive the civil war and prepare to flee to France, a reading that permits the possibility of cyclical progress through escaping from both the Basque country and from war. Santaolalla also appears to take a positive approach to the ending when she states that ‘the fact that the film actually ends with the agujero encendido and the cow seem to imply that, even though violence, death, and expatriation are on the agenda now, the potential for inclusion and regeneration still permeates the land’. (1999: 324) An alternative reading, however, suggests a more pessimistic

in The war that won't die
Representations of war and rurality in British and American film
Rachel Woodward
Patricia Winter

impossible, for reasons of plot credibility, British cinema in the post-war period still manages to sneak rural suggestions under the wire, to help consolidate the links between Britishness, ‘character’, wartime endurance and (ultimately) military victory. For example, in A Town like Alice , a group of British expatriates in colonial Malaya are rounded up by the Japanese following the invasion, and deal

in Cinematic countrysides
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Des O’Rawe

Cuban Orchestra. Barreto and his band of Cuban expatriates had earned notoriety in the late 1920s when they brought the rumba to the nightclubs of Paris and the French Riviera. Barreto’s fusion of 1920s swing melodies with Afro-­Cuban rhythms, like the Latino-­ style composition used in Rainbow Dance (‘Tony’s Wife’, performed by Rico’s Creole Band), coincided with Lye’s own attempts to generate images that shimmied and swooned (syncopated) with the music. In N. or N.W., the sense of objects and objectives flowing freely and easily away from the plot of the film is

in Regarding the real