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Doris Day and Rock Hudson
Kathrina Glitre

resonances of Day’s and Hudson’s star personae add another dimension to the sex comedy’s themes of masquerade and identity. While this chapter remains centrally concerned with the formation of the heterosexual couple in Pillow Talk, the Day/Hudson/Randall threesome also enables queer readings that recognise and resist the social construction of ‘normative’ gender and sexuality. What virgin? In Pillow Talk, Jan Morrow (Day) and Brad Allen (Hudson) share a partyline telephone. She is an interior designer; he is a composer. She thinks he is a sex maniac; he thinks she is an

in Hollywood romantic comedy States of the union, 1934–65
Jason Statham’s sartorial style
Steven Gerrard

Our bodies can be read as a complex set of both physical and social constructions. The first, the physical is that which includes the daily ritual that we subject them to (the food we eat, when we eat, where we eat, the fitness regimes we undertake). The second is as a social and cultural ‘text’ from which information can be gathered and interpreted to produce a new meaning

in Crank it up
Childhood and rurality in film
Owain Jones

discourses of rurality and childhood it carries? Social construction is practised through discourses, which ‘structure both our sense of reality and our notion of our own identity’ (Mills, 1997 : 15). They not only carry meanings and values through cultures, they are bound up in the creation and maintenance of meaning and values in close relation to ideology and power. This is

in Cinematic countrysides
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Peter William Evans

innocence and guilt. A remark made by the policeman to the priest in Odd Man Out could serve as an epigraph for all Reed’s films: ‘In my profession, Father, there is neither good nor bad. There is only innocence and guilt. That’s all.’ Though Reed is concerned to show the processes of the social construction of the self, the destructive forces of nature are also acknowledged. Many characters are caught in the grip of

in Carol Reed
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Consumer culture’s killer instinct and the imperial imperative
Hilary Ann Radner

popularity of the thesis expounded by Simon Baron-Cohen indicates the importance of empathy in social constructions of gender (Baron-Cohen, 2003 ). 10 As Austin points out, it is difficult not to view Léon, also played by Jean Reno, as an avatar of the Cleaner (Austin 1996 : 131).

in The films of Luc Besson
Susan Hayward

refuge to childhood or over-investment in womanhood marks the daughters’ unconscious recognition that their past (the missing link of the mother) is unrecuperable in the present. The irretrievability of the past marks the daughters as without history, their history. And this is a condition of schizophrenia – a form of madness that spells out exactly what the problem is in the social construction of the family and the over

in Luc Besson
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Dolores Tierney

foreign to a Mexico of social construction and progress. Sadly, in his twilight years of the late 1970s and early 1980s this great auteur was reduced to lingering around the Churubusco Studios in Mexico City, hoping to find financial backing for his film ideas. This book attempts to develop ways of reading Fernández’ films that will go beyond the myth of the ‘Golden Age’ and the clichés around Fernández that it

in Emilio Fernández
Alejandro Melero Salvador

that they have to marry when he sees them kissing. Again, it is important to note that Penella’s original text included the scene of Soleá’s childhood, but it is only in Pi’s rewriting that spectators can see this interest in the exploration of the social constructions of womanhood. There is a final aspect of El gato montés that reveals Pi’s subversive approach to the traditionally more

in Hispanic and Lusophone women filmmakers
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Oversized male bodies in recent Spanish cinema
Santiago Fouz-Hernández

: Torrente’s version of farcical and excessive fat masculinity has become the actor’s signature performance, affecting how we perceive the actor in other films, even when slim. Similarly, some spectators might think of Enrique’s voracity in Gordos when watching Carlos (Antonio de la Torre) consume human flesh in Caníbal/​Cannibal (Manuel Martín Cuenca, 2013). Benson-​Allot argues that an actor’s fat body shouldn’t necessarily be read as abject and that, instead, it can imply ‘that the body’s representational contract is a social construction, just like any element of

in Performance and Spanish film
Finding meaning and identity in the rural Australian landscape
Jonathan Rayner

, allying the woman with the land which refuses to conform to male control: as in the case of Laura, Sybylla’s ‘gifts or assets are misrecognised . . . as a “wildness of spirit” which must be tamed’ (Collins, 1999 : 19). In revealing, and in place of, the fabrication of national imagery associated with masculine control of the land, and in response to imported social constructions within the diegetic

in Cinematic countrysides