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Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.

Brian McFarlane and Deane Williams

realistic, avoiding the gratifications of melodrama, at least as the mode is practised in Hollywood cinema. Again, With or Without You raises expectations of romantic comedy but deflects – or dissipates – these with a surprising acridity of tone; and the noir -influenced I Want You hovers between thriller and erotic drama. And how does one designate 9 Songs ? Realist sex and concert scenes, to the point where there is almost

in Michael Winterbottom
Victoria Coldham-Fussell

Quixote of the Mancha , trans. Thomas Shelton , 2 vols ( London : Navarre Society , 1923 [1612–20]), Vol. I, pp. 537 – 9 (in other editions, Vol. I, Chapter 52). 47 Shroeder, ‘Spenser’s Erotic Drama’, p. 145 (on ‘corage’ see p. 119 n. 19 above). According to Aristotle, semen is formed most plentifully in hot and moist conditions, and requires heat to liquefy. At the same time, excessive heat causes enervation in men. This enervation is markedly increased by ejaculation, which, causing a sudden loss of nourishment and moisture, makes the male ‘languid and cold

in Comic Spenser
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Andrew Dix

experimentation. Crouching Tiger, Hidden Dragon (2000) is a refined contribution to the native wuxia , or martial arts, genre; while Lust, Caution (2007) merges the erotic drama, the war film and the spy film in its exploration of tangled personal loyalties in Japanese-occupied Shanghai and Hong Kong during World War II. Given his smooth cinematic shifts from wife-swapping parties to superhero transformations, or from Chinese banquets to sexual repression in Wyoming cowboy culture, it is little wonder that one critic refers to ‘Lee’s chameleon-like adaptability’ (Pidduck

in Beginning film studies (second edition)
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Victoria Coldham-Fussell

to John W. Shroeder , ‘ Spenser’s Erotic Drama: The Orgoglio Episode ’, ELH , 29 ( 1962 ), 140 – 59 (p. 143 ). On the specifically sexual comedy of Red Crosse’s errancy, see Chapter 3 below. Ariosto also uses the ram analogy (though with less elaboration) in the context of a ludicrous battle scene; OF I.63.1–2. Behind Ariosto is the influence of Ovid: in Met IX, for example, Achelous compares his battle with Hercules to bulls colliding ‘in contest for the sleekest cow / Of all the countryside’ (lines 30–65) – before transforming into a savage bull

in Comic Spenser
Linley Sambourne, Punch, and imperial allegory
Robert Dingley and Richard Scully

being seduced, however, the erotic drama proceeding in the cartoon's foreground hardly serves to clarify its immediate topical purpose, and Liberal debates about the morality and extent of the British presence in Egypt literally recede into the background of the ambiguous scenario being enacted at centre-stage between Antony and Cleopatra; a scenario which seems to conform to a dynamic of its own and to have only a tenuous relationship with the politics of Westminster. Hughes-Hallett's conclusion about the Cleopatras of nineteenth-century ‘high’ art thus seems

in Comic empires
The Henrician Reformation
Tom Betteridge

seeking with a continual change.124 Wyatt’s narrator constructs himself as the still centre in the middle of an erotic drama. He represents women as at once tame and wild, as passive and active. In the past they have sought him out and placed themselves in his power, although recently they have abandoned him. The narrator represents himself as occupying a place of enclosure where what was once wild is tamed. In his chamber the narrator appears to have control, but beyond its bounds the birds’ / women’s wildness returns. By the end of the verse, the narrator has been

in Literature and politics in the English Reformation
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Brian McFarlane and Anthony Slide

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

in The Encyclopedia of British Film