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Fergus Daly and Garin Dowd

maturity in terms of cinematic and literary erudition, while his ‘innocence’ was offset by the cinematic paean to lost innocence which was his debut feature, Boy Meets Girl In many respects, Carax seemed to ‘cristallise tous les enjeux esthétiques et économiques du cinéma en ce milieu des années 80’ (‘crystallise all the aesthetic and economic stakes of mid-1980s cinema’, Chévrie 1986 : 25). Carax’s project was said to be an

in Leos Carax
Kerstin Bergman

INTRODUCTION What is known in the English-speaking world as The Millennium trilogy , or The girl with the dragon tattoo series, originated as three novels published in Swedish (2005–07), written by Stieg Larsson (1954–2004). 1 One of the series’ protagonists, Lisbeth Salander, sports several tattoos, among them one depicting a dragon. This facet was not used in the original Swedish titles of the novels – nor was the phrase ‘the girl with the dragon tattoo’ found anywhere in the novels or in Larsson

in Tattoos in crime and detective narratives
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Authors: Fergus Daly and Garin Dowd

Leos Carax's early career was in two complementary ways conducted under the scrutiny of the French film journal Cahiers du Cinéma. In his 1999 television interview with Pierre-André Boutang, Carax touches on many of the qualities of a still developing personal mythology. Carax's first finished film, Strangulation Blues is in the director's own words the student film he never made. The 'autistic' part of 'autistebavarde' as this persona populates the films of Carax must be differentiated from this metaphorical usage. The typology developed by Carax contributes to the characters' withdrawal from verisimilitude; they are presented to us less as formed, reified types, or exemplars than as 'supple individuals'. This book performs a minute dissection of the heterogeneous elements shaped by Leos Carax into works of great complexity and élan in order to isolate the true singularity and originality of his 1980s films, Boy Meets Girl and Mauvais Sang. The haste with which Carax's overbudget film of 1990, Les Amants du Pont-Neuf has been categorised and in certain quarters thereby dismissed, combined with the spectacular budget catastrophe and the myths developed around the on-set events, contributed to a widespread misunderstanding of the film, as well as to a certain blindness among critics as to the merits. The title of Leos Carax's Pola X was an acronym of the title in French of Herman Melville's novel of 1852, Pierre, or The Ambiguities, that is, Pierre, ou les ambiguïtés.

Samia and La Squale
Carrie Tarr

generally silenced, relegated to minor or secondary roles, and/or constructed through stereotypes. Two white-male-authored films of the early 2000s, however, focus on girl power in the banlieue: Samia (Philippe Faucon, 2001) and La Squale (Fabrice Génestal, 2000). Samia is an adaptation of Soraya Nini’s 1993 novel, Ils disent que je suis une beurette , co-written with Nini herself and based loosely on the author’s own experiences of growing up. La Squale

in Reframing difference
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Claire Hines

’s magazines like Esquire and Playboy, the adult male was being directly addressed ‘as a consumer in his own right’.2 For Ehrenreich, the now infamous Playmate in the Playboy centrefold was yet another commodity in the long line of consumer goods and services being advertised as accessories and status symbols for men. This discussion is not unlike the way in which some noted Bond scholars, such as Tony Bennett and Janet Woollacott, analyse the representation of women in 1960s Bond, especially the ‘Bond girls’, as they have become known. In particular, Bennett and Woollacott

in The playboy and James Bond
Martin O’Shaughnessy

6 Before and after the political While he was editing Entre les murs, Cantet was given Joyce Carol Oates’s classic American novel, Foxfire: Confessions of a Girl Gang to read. First published in 1993, the novel presented itself as a mature woman’s account of her 1950s youth and involvement with a gang of girls spurred into revolt against an oppressive, male-dominated society. Cantet was gripped by the book and unsurprisingly drawn to an adaptation. The novel contains so many of his favourite themes: the collision between the utopian and the real; shame and

in Laurent Cantet
Douglas Keesey

2 Sisters as one soul in two bodies A ma sœur! (Fat Girl) The third film in what could be called Breillat’s ‘virgin trilogy’ has two heroines, Anaïs, who is twelve, and her fifteen-year-old sister, Elena. It is as though the singular protagonists of the earlier coming-of-age films, Alice in Une vraie jeune fille or Lili in 36 fillette, had been split or doubled. Indeed, Breillat has said that Fat Girl or A ma sœur! could have been titled ‘Deux vraies jeunes filles’ (Bonnaud 2001: 14). Like Alice or Lili, Anaïs and Elena are both virginal girls on holiday with

in Catherine Breillat
Douglas Keesey

1 Female virgins and the shaming gaze Une vraie jeune fille (A Real Young Girl) Given Breillat’s efforts over the years to distance her work from mere pornography, there is some irony in the fact that her first directing opportunity was partly owing to the popularity of pornographic films. After the abolition of censorship in 1974 and the box-office success of Emmanuelle, the tide of pornographic films rose in France, amounting to almost half of all French film production in 1974 and 1975. In line with this trend, producer André Génovès offered Breillat the

in Catherine Breillat
Abstract only
Carrie Tarr

writing into a screenplay. Kurys seized on the idea with enthusiasm and submitted her original screenplay, entitled T’occupe pas du chapeau de la gamine (Never Mind the Girl’s Hat) , to the Centre National du Cinéma (CNC) in the hope of obtaining an avance sur recettes (an advance on box office receipts). In the process she was required to name the director, and since she had not thought about who might direct the film, she

in Diane Kurys
Open Access (free)
Kerry Kidd

not only farmed babies, but killed them: she confronts Allistair with the truth, and when Mrs Allistair sees she will not be bullied into silence any longer, she pushes Viviane down the stairs and leaves her for dead. However, Viviane is saved by one of the other girls, returning early from an evening outing; she survives, a nurse caring for her hears her story and in the last minutes of the film Mrs

in British cinema of the 1950s