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Interiority, claustrophobia and decadence in cosmopolitan London cinema of the 1960s and 1970s
Kevin M. Flanagan

about violence and dislocation ( Repulsion , Performance ), the centrality of outsider perceptions of the city (expatriate filmmakers or filmmakers new to London) and themes that recur frequently (a bunker-like reliance on the home, conservative tropes to do with the fear in the interloper or the crowd, fears of entrapment). There is a comparable discourse focused on inner spaces from British writers of the time, a trend that illustrates how the outside version of private space coincides with observations by long

in Global London on screen
Quentin Falk

, Alexander Korda, born Sandor Laszlo Kellner, and his much-travelled cinematic troupe, principally fellow expatriates like his brothers, Zoltan and Vincent, as well as scenarist Lajos Biro, finally fetched up in England at the turn of the 1930s. ‘If Korda had not come to England, the British cinema of the thirties,’ noted Karol Kulik, one of his biographers, ‘might well have taken a different course. For the rest of his career, Korda brought ambition, recognition, imagination and glamour to an industry that needed his optimism and his showman’s talent.’ 5 The essential

in Charles Crichton
John le Carré’s A Perfect Spy and the treachery of Kim Philby
Jonathan Bolton

the making of the “perfect spy.” le Carré recalls that, while living in Bern, he “absolutely refused to speak English and to identify [him]self as an Englishman.”  58 Despite Magnus's efforts to escape his British identity, his homeland persistently reclaims him, as irresistible feelings of national loyalty entice him back into the service of his country. Le Carré artfully sets Magnus's repatriation in an Anglican church just outside Bern, a likely refuge for the homesick expatriate, where Magnus is spotted by Jack

in The Blunt Affair
Quentin Falk

real success, or otherwise, of the film would, necessarily, depend most on the casting of the four central roles – the Hartls, Sonja and, perhaps most crucially of all, little ten-year-old Toni aka Ivan. How much easier it might have been for the film-making team simply to select, for the adult roles anyway, from among the plethora of already well-established expatriate European actors who had been usefully employed adding authentic touches to more than a decade of British films dealing with aspects of the war. Instead, for Inga and Franz Hartl, they ventured way

in Charles Crichton
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Why Radio London?
Ester Lo Biundo

expatriation. Chapter 4 studies the relationship between the Italian broadcasters, the British Foreign Office and the Labour Party. It concentrates particularly on the political role of Italian refugees in Britain, their internment in British camps, and the issues they experienced when trying to return to Italy after the Allied landings in Sicily. Chapters 5 , 6 and 7 analyse a selection of radio transcripts from the Italian Service. In particular, Chapter 5 shows how Radio London responded to the attacks from fascist propaganda and how the Nazi-fascist enemy was

in London calling Italy
Sarah Atkinson
Helen W. Kennedy

beauty parlour. Audience members could compete in the National Bandstand dance-off in the gym while actors recreated iconic scenes and mingled with them. The event attracted more than 10,000 attendees. The final FC screening of this period was Casablanca (1942) in February and March 2013. It is filmed and set during the Second World War and focusses on American expatriate Rick (Humphrey Bogart) who must choose between his love for a woman (Ingrid Bergman) and helping her and her husband (Paul Henreid), a Czech resistance leader , escape from the

in Secret Cinema and the immersive experience economy
Gemma King

France to dominant French cultures and norms, but also to a multiplicity of cultural groups, diasporic neighbourhoods, migrant employment opportunities and public institutions. The number one tourist destination in the world, it is not only a magnet for French and migrant groups, but for expatriates, exchange students, diplomats and other creative or specialised workers from around the world. Chapter 4 (‘Capital centres: Polisse and Entre les murs’) explores the ways in which once-marginalised languages can occupy this contentious urban space, and renegotiate the

in Decentring France
Heather Norris Nicholson

work and duties in former areas of colonial administration is often a powerful and distinctive expression of family life as experienced elsewhere. Expatriate non-working wives based at home might also have more time for filming while spouses were working. Domestic scenes of young children and family servants abound from some colonial postings overseas, shot by both parents, depending in part upon the colonial context

in Amateur film
Abigail Susik

complex ways with what might be called its countercultural characteristics, its affinities with the international popular youth culture of the period. The film’s interest in this narcotic or psychedelic branch of the avant-garde as a complement to what Jonathan Eburne calls the ‘esoteric avant-garde’ is in part also a critical commentary on the influx of expatriates who moved to Mexico in search of spiritual psychedelic experiences. 31 This counterculture invasion arguably impacted the suspicion of jipismo , the Mexican hippie movement of la Onda , during the Luis

in Surrealism and film after 1945
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Philippe Met
Derek Schilling

transgression in three experimental or otherwise unclassifiable short films by Russian émigré Dimitri Kirsanoff, Frenchman Georges Franju and Chilean expatriate Raúl Ruiz. Bullot asks, with respect to the recurrent ‘identity crises’ of France’s film industry, whether directors who refuse the reassuring codes of an audience-ready cinema of the juste milieu might stake a claim to an art of the periphery. The three shorts on view each expose the internal and external borders of Paris as zones of now latent, now overt violence that contributes to the dissolution of film genre

in Screening the Paris suburbs