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Lisa Downing

touched or impressed him, Leconte crosses nationality and generation, before finally expressing his admiration for the iconic Jewish-American tragic-comic director and actor. This reluctance, this restless, irritable inability to commit to any one discernable position or to follow any singular influence is perhaps at the heart of Leconte’s diversity as a filmmaker. We have seen that this diversity is part of what irritates

in Patrice Leconte
National identity in The Transporter trilogy
Jennie Lewis-Vidler

national identity, has varied dramatically over time; borders change, nationalities adapt and the definition of what constitutes a nationality and how society assign people to one country or another changes. Yet, ‘transnationalist’ is a perfect title to assign to Martin as it describes his fictional identity accurately. It is also worth noting that there are no political or

in Crank it up
London River and Des hommes et des dieux
Gemma King

, French is a globalised and mutually secondary lingua franca. In considering London River’s portrayal of language as disconnected from nation(ality), I coin the expression ‘unanchored language’. The unanchored language is one which functions separately from its country of origin, and is thus removed from, or runs parallel to, the purview of traditional language politics. It reflects Sudesh Mishra’s concept of ‘situational laterality’ (2006: 100), described by Maty Ba Saer and Will Higbee as: An attempt to move away from an exclusive focus on the host–home binary in

in Decentring France
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Gemma King

language choice is rarely arbitrary. Instead, multilingualism is a central thematic concern and, frequently, a plot device in itself. As Carol O’Sullivan explains, ‘subtitled foreign dialogue is no longer used merely as ornament, to mark location or nationality, but becomes a vehicle for plot and character development’ (2008: 84). Languages are not simply modes of communication, but sociocultural elements and tools that can be used to exert authority, infiltrate cultural groups and manipulate others. In a wide range of situations, the ability to understand and speak

in Decentring France
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Brian McFarlane and Deane Williams

Journal – are no more help to him than the British nationality of the Tipton Three in Guantánamo . Like those earlier films, A Mighty Heart shows Winterbottom in characteristically committed mode. Other directors may make sleeker films, films with fewer rough edges, but one regularly senses again in this new film the potent concern with issues of contemporary significance. Whereas it was a matter of the appalling privations

in Michael Winterbottom
Spanish horror
Paul Julian Smith

2006 ]), a question that, as we shall see, has transformed academic understanding of horror film in recent years. Genre, then, as a set of formal characteristics that function as triggers of recognition for competent audiences, intersects in complex and unstable ways with a number of different factors: nationality, history, industry and sexuality. In this chapter I argue that Pan’s Labyrinth deserves

in Spanish cinema 1973–2010
Fünf Patronenhülsen/Five Cartridges
David Archibald

Wittig (Erwin Geschonneck), who we later learn is German, as he surveys the war zone through a pair of binoculars. As Busch continues singing, the remaining key protagonists are introduced through a series of close-up shots of their faces with accompanying titles outlining their nationality. 12 All sporting the Soviet star on their military headwear, they appear in the following order: Wasja (Ulrich Thein) – Soviet Union; José (Edwin Marian) – Spain; Willi (Ernst-George Schwill) – Germany; Pierre (Armin Mueller-Stahl) – France; Oleg (Manfred Krug) – Poland; and

in The war that won't die
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Joseph McGonagle

circular to headteachers urging them to ban religious insignia perceived as ostentatious precisely because, in his eyes, they did promote religion. Although the circular technically applied to symbols of any religious denomination, it was clear that the Islamic headscarf was once again the target: this was confirmed during an interview by Bayrou himself when he declared crucifixes and yarmulkes to be less ostentatious in ­comparison (Hargreaves 1995: 127). The 1990s also saw nationality, citizenship and ­immigration laws generally made more restrictive. In 1993 the

in Representing ethnicity in contemporary French visual culture
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

own nationality and that of his character may appear simplistic and even dismissive of the art of acting, but it gains importance in a cultural and political context where identity and its perception are key factors in the long-​standing conflict over the status and formation of Basque Country. The most radical nationalists in this conflict (hope to) impose a criterion for Basque nationality that includes a bloodline that is sufficiently established, which may even result in a physiognomy that is recognisably Basque, and the ability to speak Euskara or a willingness

in Performance and Spanish film
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

expectations than their parents of their future role in French society. The tensions between the different sets of cultural roles and expectations were exacerbated by two factors, particularly for those of Algerian descent (the majority): conflicting nationality laws and the growth of racism. Whereas after independence in 1962, Algeria continued to consider the children of immigrants to be Algerian (and expected young males to do two years’ national

in Reframing difference