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	<title>Senses of Cinema &#187; Cinémathèque Annotations on Film</title>
	<link>http://www.sensesofcinema.com</link>
	<description>Issue 61</description>
	<lastBuildDate>Thu, 09 Feb 2012 04:45:31 +0000</lastBuildDate>
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	<language>en</language>
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		<title>“People are waiting”: Elia Kazan and America America</title>
		<description><![CDATA[Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s America America (1963). This epic, physical, elemental, almost monomaniacal film is an important touchstone for Scorsese, a talisman of the passage from and between the old world of Classical Hollywood [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/</link>
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		<title>Identity in Elia Kazan’s Splendor in the Grass</title>
		<description><![CDATA[Elia Kazan’s Splendor in the Grass (1961) concerns the problems encountered by two teenagers – Wilma Dean (“Deanie”) Loomis (Natalie Wood) and Bud Stamper (Warren Beatty) – living in Kansas at the end of the 1920s. Their sexual desire for each other has no outlet because of the rigid morals of the time, and leads [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/</link>
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		<title>East of Eden</title>
		<description><![CDATA[“East of Eden is more personal to me; it is more my own story. One hates one’s father; one rebels against him; finally one cares for him, one recovers oneself, one understands him, one forgives him, and one says to oneself, ‘Yes, he is like that’… one is no longer afraid of him, one has [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/east-of-eden/</link>
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		<title>American Friend</title>
		<description><![CDATA[Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards American cinema. While Italian neo-realism and British social realism tended to be defined as filmmaking practices opposed to those of American cinema, the French nouvelle vague and the New German Cinema of [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/american-friend/</link>
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		<title>L&#8217;eclisse</title>
		<description><![CDATA[Michelangelo Antonioni’s name seems to have fallen somewhat into disrepute in US film culture over the last several decades, his main concerns – alienation and the collapse of communication – the subject of a collective yawn. Once seen as the cinema’s most adept observer of alienation as the dominant tone of postwar industrial civilisation, Antonioni [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/leclisse/</link>
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		<title>The Passenger</title>
		<description><![CDATA[“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/the-passenger/</link>
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		<title>A Man Escaped</title>
		<description><![CDATA[“When one is in prison, the most important thing is the door.” – Robert Bresson (1) Un condamné à mort s’est échappé ou Le vent souffle où il veut (A Man Escaped, 1956) is one of Bresson’s most sublime and understated films, in a career that consists of a series of meditational masterpieces that minutely [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/a-man-escaped/</link>
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		<title>Les dames du Bois de Boulogne</title>
		<description><![CDATA[“Only the conflicts that take place inside the characters give a film its real movement.” - Robert Bresson (1) “Destiny is tragic but I prefer a fate we choose to one forced upon us.” -Agnès (Elina Labourdette) in Robert Bresson’s Les dames du Bois de Boulogne (1945) For Bresson, as Marvin Zeman puts it, life consists [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/</link>
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		<title>I Magliari</title>
		<description><![CDATA[Released two years before his international breakthrough Salvatore Giuliano (1962), Francesco Rosi’s I magliari (1959) is the story of immigrant Italian workers seeking their fortune in late Adenauer-era West Germany. Unfairly neglected by critics and historians, the film is usually regarded a prelude to the Neapolitan director’s ambitious, labyrinthine chronicles of power and corruption of [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/i-magliari/</link>
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		<title>Salvatore Giuliano</title>
		<description><![CDATA[The trailer for Salvatore Giuliano (1962) begins with a town crier walking down a Sicilian street, banging a drum. This is followed by a group of men distributed across the town square, one playing a Jew’s harp. The crier is proclaiming a military curfew, but could as easily be announcing a new show in town. [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/salvatore-giuliano/</link>
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		<title>Lucky Luciano</title>
		<description><![CDATA[As Gian-Piero Brunetta has noted, Francesco Rosi’s Il caso Mattei (The Mattei Affair, 1972) and Lucky Luciano (1973) saw the Neapolitan filmmaker return to the narrative model of his first major success Salvatore Giuliano (1962) (1). Both films employ a non-linear structure in an attempt to outline the complex web of political and economic intrigue [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/lucky-luciano/</link>
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		<title>Shanghai Express</title>
		<description><![CDATA[“A shaft of white light used properly can be far more effective than all the color in the world used indiscriminately.” – Josef von Sternberg (1) Of all the delirious exoticisms created by Marlene Dietrich and Josef von Sternberg during their white-hot period in the 1930s at Paramount, Shanghai Express (1932) remains my favourite for [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/shanghai-express/</link>
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		<title>The Last Command: Josef von Sternberg’s Life and Death of a Russian Extra</title>
		<description><![CDATA[In a profile of Josef von Sternberg for the New Yorker in March 1931, the year Americans got to see the English-language version of Der blaue Engel (The Blue Angel, 1930), the author begins where most writers do when discussing the Austrian-born director who conquered Hollywood with his outré style, both on and off the [...]]]></description>
		<link>http://www.sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/</link>
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		<title>Les Diaboliques</title>
		<description><![CDATA[Les Diaboliques (1955) is a tale of cold-blooded, calculated murder and suspense. Murder and suspense are always billed together in this kind of film, however, in the case of Les Diaboliques, this is equivalent to suggesting that Shakespeare was merely a playwright who was born in 1564 or that Bengal tigers are colourful quadrupeds. In [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/les-diaboliques/</link>
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		<title>Quai des Orfèvres</title>
		<description><![CDATA[During the course of a conversation in the crime drama Quai des Orfèvres (1947) between the photographer Dora Monier (Simone Renant) and the investigator Antoine (Louis Jouvet), he discourses upon how the demarcation between the law and the lawless often becomes altogether tenuous. Antoine remarks that during his career he has learned certain practical skills [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/quai-des-orfevres/</link>
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		<title>Le Corbeau</title>
		<description><![CDATA[As Alan Williams notes, “Le Corbeau is an essential work for world film history, if only because its meanings are still being debated” (1). Filmed during the Occupation by the German controlled Continental Films Company, whose head likened himself to an Aryan version of Louis B. Mayer, the unit sought to make quality films rather [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/le-corbeau/</link>
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		<title>L’enfer d’Henri-Georges Clouzot</title>
		<description><![CDATA[The idea of the lost or broken film is central to cinephilia, but its implications are ambiguous. On the one hand, it allows the film lover to construct a neo-Platonic ideal of the perfect film. However, such dreams suggest a certain dissatisfaction with the cinema as it exists (as anyone who has read David Thomson’s [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/l%e2%80%99enfer/</link>
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		<title>Le Mystère Picasso</title>
		<description><![CDATA[At first glance, it might seem that a film about Picasso should have been directed by anyone other than Henri-Georges Clouzot, the famous misanthrope of the cinema. But then again, both were hard, violent men, absolutely sure of their vocations, and each approached their work with the same sense of absolute control and complete lack [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/le-mystere-picasso/</link>
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		<title>The Wages of Fear</title>
		<description><![CDATA[“Let me tell you the story”, Henri-Georges Clouzot appears to be offering in Le Salaire de la peur (The Wages of Fear, 1953), “of four strange men. Four lonely men, and their intertwined fate.” Not friends as much as comrades, not comrades as much as fellow slaves, not slaves as much as desperados, they have [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/the-wages-of-fear-2/</link>
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		<title>The Wages of Fear</title>
		<description><![CDATA[“You don’t know what fear is. But you’ll see. It’s catching. It’s catching like smallpox. And once you get it, it’s for life.” - Dick in Le Salaire de la peur (The Wages of Fear) The Wages of Fear is a 1953 French film noir-style road movie-cum-thriller, directed by Henri-Georges Clouzot, starring rising film star [...]]]></description>
		<link>http://www.sensesofcinema.com/2011/cteq/the-wages-of-fear/</link>
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