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Heather Norris Nicholson

choice of destinations, recreational and holiday opportunities and even the character of the group captured on camera, the visual politics of representation discloses the interplay of gender, age, physical well-being and ethnicity. Status, whether in familial terms or as a figure of authority within civic, occupational or associational setting, either at home or abroad, contributed to how, where and when filmmakers were able to

in Amateur film
The keys to El Dorado
Agustín Sánchez Vidal and Mar Diestro-Dópido

. The episode of Guzmán’s enthronement with an improvised baldachin and coat of arms offers a crude replica of the portrait of Philip II seen earlier, and it takes place to the musical accompaniment of the recercada by Diego de Ortiz (a further variation on a theme that is musical, visual, political, etc.). But after this absurd act of protocol – in the middle of the jungle! – the harshness of reality imposes itself: there

in Spanish cinema 1973–2010
Homer B. Pettey

visual political clues – flag, insignia, political poster – to serve as an outright synecdoche, Costa-Gavras cleverly makes national identity the issue. There exist, however, a few cultural clues, scattered throughout the film, that point to Greece, such as some photos of the Greek royal family, an Olympic Airways name on the steps of jet airstairs, an Olympic Airways poster, and a few Greek beer bottles, but most audience members would have had to rely upon knowledge of Greek nationalism and the Colonels’ takeover to place Z as Greek. No mention in dialogue

in The films of Costa-Gavras