By Alison Smith, Diana Holmes
Cinema is leisure that still communicates a suite of values and a imaginative and prescient of the realm. This booklet explores the advanced dating among leisure, ideology, and audiences from the Stalinist musicals of the Thirties via cinematic representations of masculinity lower than Franco, to fresh French movies and their Hollywood remakes. It covers movie from the previous Soviet Union, Germany East and West, Czechoslovakia, France, and Spain, and the connection among Europe and Hollywood.
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Additional info for 100 Years of European Cinema: Entertainment or Ideology?
You don’t trust me . . People have to share things, Joel . . That’s what intimacy is . . I wanna read some of those journals you’re constantly scribbling in. What do you write in there if you don’t have any thoughts or passions . . or love? Others had to do with children and commitment. Clementine is ready for both, sure of her competence as a mother. ” Though these are the sorts of problems any young couple might have, in scene after scene we are made aware that Joel and Clementine don’t handle them well.
Reluctantly, he joins her, as afraid as he was (both times) to walk on the icy Charles. JOEL: I think we should go. Why? It’s our house just for tonight. We are—(she looks at some mail)—David and Ruth Laskin. Which one do you want to be? JOEL: Uh? CLEMENTINE: I prefer to be Ruth, but I can be flexible. CLEMENTINE: It’s a prefiguring of what their actual relationship will end up being like, with their gender roles, as we saw, (satisfyingly) reversed. ” But it’s all too much for him: “I really should go.
Sometimes I think people don’t understand how lonely it is to be a kid. Like you don’t matter. So, I’m eight . . and I have these toys, these dolls. My favorite is this ugly girl doll who I call Clementine. And I keep yelling at her, “You can’t be ugly! ” It’s weird. Like if I could transform her, I would magically change too. Doubtful about her own attractions, the implication is that Clementine is attracted to unprepossessing partners. At times, it’s true, she seems more confident of her worth.
100 Years of European Cinema: Entertainment or Ideology? by Alison Smith, Diana Holmes