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, stronger and brighter than its predecessors. This constitutes a significant departure from Baudrillard’s brief acknowledgement of the possibility of minimal differentiation. The second film sets up a potential clash between the possible differentiation between elements of a sequence and the overarching model of functionality, in which all the variant forms fulfil a single purpose. This problem is explicitly played out with reference to Trinity whose death appears to be a necessary part of her function as the lover of The One. Trinity’s death takes the form of both a

in Adapting philosophy
Does popular culture mean popular language?

syllable aller; fée; j’irai; poignée allais; fait; j’irais; poignet belle; père feu; deux; malheureux jeûne (noun); veule (adj.); –euse (suffix) jeune (adj.); veulent (verb form) peau; dos saule; rose philosophie sol; dot; port Figure 2  Distribution of mid-vowels in open and closed syllables (cf. Valdman 1976: 57) that few word-pairs are differentiated in meaning by the vowel alternations. The vowels /e/ and /ε/ have in principle a high functional yield, most frequently in their distribution in inflectional -er verb suffixes (infinitive, future, conditional, present

in Imagining the popular in contemporary French culture
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The princess and the post-’68 fairy tale

way: ‘The camera manages to make the landscape at once functional to plot and the characters’ moods and “irrelevantly” beautiful, worthy of aesthetic contemplation in its own right. It remains a positive visual force’. As Chatman shows, the alienated characters of L’avventura may not themselves register the beauty of the landscape within which they are framed, but the repeated use of long shot

in From perversion to purity
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4 An English style? Central to any formation or consolidation of identity, national or otherwise, are processes of differentiation. The differentiations inherent in the present resur­ gence of English folk are, for the benefit of our understanding of the move­ ment, two-fold. Primarily, the movement must necessarily be concerned with the essentialisation of those concrete aspects of the English folk arts that are identified with Englishness. In other words, a successful negotiation of English identity through the folk arts cannot be achieved without an

in Performing Englishness
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traditional model of economic-materialistic Marxism. By adding autonomy to the superstructures, Althusser took a major step from the original Marxist definition of the term ‘superstructure’. 16 Althusser’s theory enables film critics to address how ideology operates historically in its functional relation with the economic, political and cultural aspects of class society. His theory of ideology has indirectly helped to thrust political film studies into

in Contemporary Korean cinema

-Stevens’ Villa Noailles. Finally, on the second floor are two portholes, which unbalance the building and look incongruous relative to the vertical rectangular windows of the ground floor, and which become the basis of a gag that allows Tati to mock the building: when Monsieur and Madame Arpel look out of them at night, their silhouettes make the round windows look like eyes with moving pupils. Rather than expressing a coherent functional or aesthetic rationale, the Arpels’ house seems more like a bricolage of improperly understood stylistic elements associated with 1920s

in Screening the Paris suburbs
Toward a musical poetics of The Smiths

. Likewise, the melody itself is somewhat dull. It passes by at a slow to moderate pace, with each syllable given its own note. It, too, seems subject to routine. In short, the melody is ostensibly as uninteresting as the life characterised by the song.6 The song unfolds in verse–chorus form, which, as we have seen, dictates that the music changes with the onset of the chorus. And indeed it does. The powerful, syncopated groove on G differentiates the transcendent possibilities of the revolution called for by the chorus, ironically or not, from the static nature of the

in Why pamper life's complexities?
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H. P. Lovecraft and the cinema

conditions, atmospheres, appearances , and things of that kind. (Quoted in de Camp, 1975 : 348, original emphasis). As Michel Houellebecq states, Lovecraft perceived the futility of all psychological differentiation. His characters no longer required it; all they needed

in Monstrous adaptations
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Welcome and La Graine et le mulet

, English is spoken in the film mostly within the borders of the French nation rather than beyond them, even becoming more functional and useful to the film’s characters than French. In addition, in Bilal’s initial inquiries of fellow clandestine migrants and dealings with people smugglers, the typically marginal Middle Eastern tongue of Kurdish is of more use to him in negotiating his passage than either English or French. The various social spheres which make up the Calais-based narrative of Welcome, from the public streets of the port where Marion runs MUP

in Decentring France

especially marked influence on the British cinema of the 1960s in particular. Terms such as ‘runaway’, ‘international’, and ‘mid-Atlantic’, were used to differentiate such films from orthodox indigenous productions, reflecting something of their economic sources, something of the geographical location of their physical production, and something of the cultural consequences of their American provenance. ‘Mid-Atlantic’, in particular, became a term of critical abuse, embodying the notion of a cinema of uncertain cultural identity, a characterisation of British cinema which

in Anthony Asquith