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Nicolas Kang- Riou

the ‘film’s ability to provide an apparently credible account of the operation and personnel of law’. 2 Science fiction cinema is quite different in this respect. Science fiction is based on worlds, though still following (most of) the natural rules of our universe, which are dramatically altered compared to what we know. As Marco Benatar describes, ‘science fiction is replete with scenarios set in the future extrapolating from contemporary knowledge and experience’. 3 He usefully adds ‘not only in the realms of science and technology but also in respect of

in Cinematic perspectives on international law
Christine Cornea

’ ( 2000 ). Certainly, Sebastian’s characterisation was fairly one-dimensional but this is not uncommon in popular action or science fiction cinema. What is interesting is that at the same time as some critics took this to be a weakness in the film, Bacon’s presence was very much in evidence in the reviews. Even as the performance of this character slips into digital reconstruction, it was understood as sutured to what critics

in Genre and performance

The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

Robert Burgoyne

past. In particular, I will focus on the most contested and controversial area of contemporary fiction cinema’s representation of the past – the use of documentary images as a mode of imaginative reconstruction or re-enactment. The shift from documentary images being understood as the trace of the past, as something left behind by a past event, to something available for imaginative and poetic

in Memory and popular film
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Weaving around the Bayeux Tapestry and cinema in Robin Hood: Prince of Thieves and El Cid
Richard Burt

The Bayeux Tapestry as cinematic textilography The Bayeux Tapestry appears most often in historical fiction cinema as a prologue integrated into an opening title sequence, and, less frequently, in scenes of it being embroidered and assembled by women: Chimene (Sophia Loren) in El Cid (1961); Ophelia (Helena Bonham Carter) and other women in Hamlet (1990); and

in Medieval film
Directions and redirections
Jonathan Bignell and Stephen Lacey

, Present and Future, Basingstoke : Palgrave Macmillan . Ellis , J. ( 1982 ), Visible Fictions: Cinema, Television, Video, London : Routledge & Kegan Paul . Ellis , J. ( 2002 ), Seeing Things: Television in the Age of Uncertainty, London : I. B. Tauris . Gripsrud , J. ( 1997 ), ‘ Television, broadcasting, flow: key metaphors in TV theory ’, in C. Geraghty and D. Lusted (eds), The Television Studies Book, London, New York, Sydney and Auckland : Arnold . Tincknell , E. , and P. Raghuram ( 2004 ), ‘ Big Brother: reconfiguring the

in Popular television drama
Abstract only
Documentary world views
Thomas Austin

film when he argues that: ‘If shots as indexical traces of past reality may be treated as documents in the broad sense, documentary can be treated as a conversion from the document. This conversion involves a synthesizing knowledge claim, by virtue of a sequence that sublates an undoubtable referential field of pastness into meaning … mainstream [fiction] cinema also works through the sublation of document into sequence. The “document” here is the shot comprehended as an indexically traced record of a pre-existent, profilmic field. Such preexistents include actors

in Watching the world
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Television, style and substance in The Time Tunnel
Jonathan Bignell

sublime feeling, are often said to characterise the visual style of science fiction cinema, usually referring to sequences where slow narrative pace and a distanced point of view allow time to contemplate special effects that contribute little to plot or character but rather encourage a feeling of awe (Bukatman 1999 ). While The Time Tunnel certainly references this mode in set-piece moments like the shot of the underground city, narrative pace overrides it. Visual style is designed to thrill, shock and energise the viewer, rather than to encourage contemplation

in Substance / style
Against the conspiracy of boredom
Peter Buse, Núria Triana Toribio, and Andy Willis

mutante is based, if one can say such a thing about this generically eclectic film, is science fiction. Science fiction cinema has no established tradition in Spanish cinema 4795 CINEMA - PT/gk.qxd 12/1/07 10:03 Page 40 40 The cinema of Álex de la Iglesia and there is still no entry for ‘ciencia ficción’ in the Diccionario del cine español (Academia de las Artes, 1998) nor in any of the encyclopedic works on Spanish cinema. Acción mutante may very well be the first ever Spanish science fiction-comedy (the classification it is given on IMDB).1 For various

in The cinema of Álex de la Iglesia
Outdoor screens and public congregations
Ruth Adams

. 25 Ibid ., p. 8. 26 Ibid ., p. 22. 27 John Ellis, Visible Fictions: Cinema, Television, Video (London: Routledge, 2000 ), p. 160. 28 Respondent 2

in The British monarchy on screen