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Investigations (1) The credit sequence of Bertolucci’s Strategia del ragno (1970) takes place against brightly coloured, schematic naif images of animals and objects painted by Ligabue. The opening entry into the film is to the make-believe fairyland of the primitive created by the painter. The narrative opens with the arrival of Athos Magnani, the younger, the son of Athos Magnani, the elder, with the same name, at the railway station in the town of Tara. The father is an anti-fascist hero, murdered, so the story goes, by fascists in 1936. Father and son

in Film modernism
French filmmaking in the suburbs, 1896–1920

large wrought-iron letter ‘R’, for Romainville, but usually the generic urban space seen in these films comes with no labels attached and features no landmarks. If a railway station is seen, care is taken not to show its name. In Zigoto et l’affaire du collier (Gaumont, 1911) the unnamed station is at Villemomble; narrative logic suggests it is somewhere near the Boulevard des Capucines in Paris. This same suburban station appears the same year in La Tare (Gaumont, 1911), but there it is supposed to be in the South of France. In this instance, the eagle-eyed local

in Screening the Paris suburbs
Jack Clayton’s Room at the Top

history of British cinema. Black and white images of industrial landscapes, railway stations and a young man arriving somewhere with a raincoat folded over his arm are instantly evocative of a certain time and place in the history of British cinema. Yet the delight of this evocation is tinged with an element of danger and this is because repeated meetings with moments like this one can give rise to an overfamiliarity. The result of this is that the features that define these moments can attract a powerful critical contempt. This was certainly the case for Thomas

in The British New Wave
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Portrayals of the working-class family

railway engine to Jim and Tillie’s son. The couple have stayed together. Gilliat followed Hitchcock’s habit of making an uncredited appearance in his own films, though he is harder to spot. 1 This is one of many devices in British films of the 1940s which remind audiences of the artificiality of what they are watching. 2 It is as though film-makers were reacting against the documentary tradition by not taking

in The British working class in postwar film
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of other events essentially of relations of the characters to each other and to the places in which the events occur: the streets and squares of Turin, railway stations, restaurants, bars, fashion houses, hotel rooms, the beach. The use of locations by Antonioni was, relative to the period and certainly relative to Italian neorealism, unique. The locations were not decor background, fixed and intert, or atmosphere, or metaphor, or realistic background to a drama, but a relationship of the characters to where they were. The relations of characters to each other

in Film modernism
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tells him to write more often to his mother. The sequence ends at the railway station from which Serge has to return to his regiment. The men are shot facing a café counter, where Pierre eats voraciously but the brother remarks on the poor quality of 48 andré téchiné the ham as compared to home (the opening sequence had the father placing a beautiful ham in the shop display cabinet). Conversation about their unmarried shepherd brother Guy leads to an outburst from Pierre against marriage and his father, declaring his desire to bring his mother to Paris for a few

in André Téchiné
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– the London underground railway system – pushes the film in the direction of realism and there are several sequences which exploit the open air spaces of London: Bill and Nell on an open-top bus journey, their picnic in a park, and the imposing exterior of the Lots Road power station, the naturalistic backdrop for Bill’s pursuit of Bert after he has killed Kate. The realism is carried into some of the interior footage of the film with some of the store sequences shot in the Selfridges department store. Yet, the film also moves in other directions drawing upon Asquith

in Anthony Asquith

African Queen by its cinematographer Cardiff ( 1996 : 148–62). 35 For some of the more remote locations, such as a deserted railway station, they had to abandon vehicular transport altogether ( People , 11 October 1959). 36 Anon., Kenneth More, Fans’ Star

in J. Lee Thompson
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The blind side of Basque terrorism

ultimately unsustainable; and not only because of Marrubi’s troubles. Calparsoro describes Mikel as embodying fragility and fear, scared to betray his ideology because that very ideology sustains his own identity; but, as Mikel cannot survive without Marrubi either, so his only solution is suicide (Demicheli, 1997). The suggestion of suicide comes from Mikel leaving behind his gun clip at his last meeting with Marrubi. She finds it and chases after him to give it back, but they are separated by the tracks running through the railway station where they have met, and she

in Daniel Calparsoro
The creative tension

to 1939) and Radio Toulouse (1928 to 1938), among others. Overseas transmission circumvented the BBC’s monopoly control of transmission in the United Kingdom. The J. Walter Thompson Advertising Agency also produced programmes from its up-to-date studios in Bush House. The commercial stations were modelled directly on American broadcasting with the programmes sponsored by companies such as Rinso, Horlicks, Lux Toilet Soap and Rizla Cigarettes, as part of their

in Cinema and radio in Britain and America, 1920–60