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Recollections of war
Philip Gillett

functions as emotional catalyst, capturing the sense of getting on with things because there is no alternative and giving audiences the opportunity to empathise with characters’ ways of coping. In C. A. Lejeune’s words, ‘Again and again the audience is left to resolve its own tensions: an operation that is painful, unusual and good for the soul.’ 17 Drazin sums up ‘Puffin’ Asquith’s acceptance of his failure

in The British working class in postwar film
Marriage, remarriage and screwball comedy
Kathrina Glitre

comedies end with a proposal, let alone a wedding; there is no mention of marriage at the end of Holiday or Bringing Up Baby, for example. While marriage may well be implied (or assumed), this is not the same thing as conservative reaffirmation. It would be literally impossible for a 1930s’ Hollywood film, made under the moral guardianship of the Production Code, to explicitly reject marriage as the framework for a heterosexual relationship – but this does not necessarily mean that the film endorses that framework. The awful truth for screwball comedy is that there is no

in Hollywood romantic comedy States of the union, 1934–65
Abstract only
Alison Smith

which we come to see them differently. This process is also central to films such as L’Opéra-Mouffe and Cléo de 5 à 7 , but in these films there is no alternative vision. La Pointe Courte provides an illustration of the way the external becomes an image of the internal. That is not, however, the only way in which La Pointe Courte impinges on the couple’s story. The first point to note is the

in Agnès Varda
Abstract only
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

Thanking her for a ‘magically perceptive letter’, Anderson (who used the I-Ching quite often) developed her analysis saying that he had ‘always believed instinctively in the necessity of waiting for the forces of life to nourish one before it is possible to undertake any new work of any ambition’. One must wait until ‘time has brought one inescapably round to the point where there is no alternative but to undertake a new

in Lindsay Anderson
Alison Smith

admired, it is possible that the director intended the audience to read the one with reference and comparison to the other. However, here there is no alternative form of activism, and no conflict of generations. Costa-Gavras noted, at the time of Z , the existence of other events to which the film might be seen to refer: there had been no lack of political assassinations in the recent past – along with Kennedy and Martin Luther King he did indeed evoke the Ben Barka affair (Costa-Gavras et al. 1969 : 8), but only to dismiss it

in French cinema in the 1970s