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Richard Allen and Ira Bhaskar

This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.

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Off the Beaten Path

Non-Metropolitan Representations of Homosexuality in Three French Films

Romain Chareyron

This article offers a reflection on the ways in which the representation of gays and lesbians in contemporary French cinema has mostly focused on specific and limiting traits. With their choice of locales (Paris and other cities) and bodily characteristics (young, fit), these films convey a restrictive view of homosexuality. Such portrayals have gained traction due to their numerous iterations in films and in the media. By focusing on the works of three directors who have adopted a radically different perspective in their portrayals of homosexuality, this article will highlight the close ties that exist between sexuality and topography. Providing a more true-to-life account of homosexuality, the films move away from cities to investigate the geographical margins. In so doing, they question the tenets of France’s republican ideals, where differences tend to be smoothed out in favor of unity and homogeneity. These films reinstate diversity and individuality at the heart of their narratives.

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Rainer Reisenzein

their interest—for example, a particular camera movement (e.g., Seeley and Carroll 2014 ) or a particular narrative structure (e.g., the plot twist; Pérez and Reisenzein submitted). Second, they desire to better understand the nature and function of

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Laura T. Di Summa-Knoop

, while complying with the desired intentions of the filmmakers, may still not lead to a critically praiseworthy film. The proliferation of TV series is an indication of this downside. While some are both technically masterful and critically intriguing

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

Polonsky does he underline the need for a good performance; Kuleshov claims that the interchange did not achieve the desired effect when he tried to replicate it with a lesser actor (1974: 192–193). Rather than group the sequences featuring Mozzhukhin with

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David Bordwell

-engagement type Brian mentions. Desire Me (1947) went through forty rewrites and was initially shot by George Cukor. When that version was found unsuitable it was 80 percent reshot by Mervyn Leroy and possibly others. No director was willing to sign the film, so

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

“audience in the desired direction through a series of calculated pressures on its psyche” (1998b: 35). Eisenstein’s theoretical focus throughout his career was on strong, deep, and precise impact. His ultimate purpose was not to show but to shock, pressure

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Philip Cowan

), than by the desire to exploit the spatial relationship of the characters within the frame to tell a story. That would be the essential difference between the long takes in The Letter (and other non-Toland/Wyler films) and those in Toland/Wyler films

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Brendan Rooney, Hanna Kubicka, Carl Plantinga, James Kendrick, and Johannes Riis

Television (New York: Routledge, 2016), xx + 206 pp., $29.95 $148 (hardback), ISBN: 978-1-13888-597-4. Reviewed by Hanna Kubicka Gregory Currie once wrote that the “desires” we have concerning “fictional things” and real life are so radically different from

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Rogue or Lover

Value-Maximizing Interpretations of Withnail and I

Peter Alward

four and five. Withnail’s assertion—revealed by Monty in “Toilet Trader”—that Marwood is in love with him can be taken to be an expression of Withnail’s own desire, especially since that particular lie would not have been needed to secure the cottage