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Lance Comfort began to work in films between the age of 17 and 19, more or less growing up with the cinema. When he came to make 'B' films in the 1950s and 1960s, his wide-ranging expertise enabled him to deal efficiently with the constraints of tight budgets and schedules. He was astute at juggling several concurrent plot strands, his prescient anticipation of postwar disaffection, the invoking of film noir techniques to articulate the dilemma of the tormented protagonist. Comfort's reputation as a features director seemed to be made when Hatter's Castle, made by Paramount's British operation, opened at the Plaza, Piccadilly Circus, after a well-publicised charity première attended by the Duchess of Kent and luminaries such as Noel Coward. He had been in the film business for twenty years when, in 1946, he directed Margaret Lockwood in Bedelia. Comfort is not the only director who enjoyed his greatest prestige in the 1940s and drifted into providing fodder for the bottom half of the double-bill in the ensuing decades. There were six intervening films, justifying the journalist who described him in early 1943 as the Busiest British film director. Great Day, Portrait of Clare, Temptation Harbour, Bedelia, Daughter of Darkness, and Silent Dust were his six melodramas. He was an unpretentious craftsman who was also at best an artist, and in exploring his career trajectory, the viewer is rewarded by the spectacle of one who responded resiliently to the challenges of a volatile industry.


This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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Brian McFarlane

”, is in line with the compromising attitude of the film as a whole.’ 6 Korotkie Vstrechi The title of Ukranian filmmaker, Kira Muratova’s, 1967 romantic drama was literally translated as Brief Encounters when it was shown in the West. It is not a remake of Lean’s film as such, but the fact of its echoing the latter in its title may well point to the potency of the earlier film. In fact, there are several moments and plot strands that suggest such lineage. I have only been able to see the film online, but even so

in The never-ending Brief Encounter
Darryl F. Zanuck’s Les Misérables (1935)
Guerric DeBona

literature on screen – and camera shots (especially close-ups), reinforce Zanuck reimagined Les Misérables as a single plot strand built around the main character and with no digressions or subplots. 23 But the very distinctly American and ‘readerly’ adaptation found collateral partners in some intertextual features as well, especially in the educational community, whose inherited pedagogy on the novel by the 1930s popularized the moral struggle of the main character while teaching the dynamics of film narrative and style in relation to the source text. Legibility for the

in French literature on screen
Brian Mcfarlane

seemed fresh, sharp and truthful, in ways I wouldn’t have been able to articulate then; and it still does. This busy little film, about a village getting ready to welcome Mrs Roosevelt and putting aside but not gettting rid of personal problems and animosities, is as good an introduction to Comfort’s work as any. His astute juggling of several concurrent plot strands, his prescient anticipation of postwar disaffection, the

in Lance Comfort
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The Taming of the Shrew and odd-couple comedy
R. S. White

Shakespeare that have entered the history of film. My own choice here is ‘odd-couple comedy’. Furthermore, as was his custom when he found a plot strand that worked, Shakespeare himself was the first to adapt it. In Much Ado About Nothing the abrasive ‘battle of the sexes’ is played out between Beatrice and Benedick alongside the more conventionally romantic yet insecure wooing of Claudio and Hero. This

in Shakespeare’s cinema of love
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

sexuality is also presented in manifestations that do not fit easily into traditional classifications. This attitude also affects narrative style: characters proliferate, clash, fight, meet, disappear and/or change, and plot strands are sometimes unfinished and/or open-ended. To some extent, the industrial conditions in which the films were made and their function as a ‘quick fix’ help to convey this idea of roughness, as if

in Spanish cinema 1973–2010
Steven Peacock

characters appearing in all films but taking primary position in one), narrative (through overarching plot strands and shared pivotal moments), and themes (concentrating on chance encounters, fatalism and the impact of death). These are films preoccupied with overlaps and intersections. As Tadeusz Szczepanski declares, ‘Kieślowski ingeniously multiplies subtle refrains, parallelisms, counterpoints, correspondences, symmetries, echoes

in Colour
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‘If you think this has a happy ending, you haven’t been paying attention’
Martin Barker
Clarissa Smith
, and
Feona Attwood

the long break between seasons. In keeping with latter era Thrones , it's not exactly subtle. The writing is fairly blunt, as all the plot strands hurtle towards their respective climaxes, but atmospheric direction by David Nutter and stellar performances from all, particularly John Bradley, anchor the proceedings and give a sense of gravitas. (O’Connor, 2019 ) But by the time episode 6 aired, general agreement was that GoT was ending badly – demonstrating lack of

in Watching Game of Thrones
James Zborowski

sound mix, but diegetic sound often remains audible, and some sequences within the montage include brief exchanges of dialogue between characters. Each montage, with the exception of the first season's, includes approximately fifteen ‘beats’, including various kinds of action or information (more on this below). (Season 1's montage contains only around nine beats, and is shorter, at less than four minutes.) The montages continue the series’ much-vaunted paralleling and interweaving of multiple plot strands, giving the viewer a lot of information

in Complexity / simplicity