By Bill Marshall
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Deutsche Schwere Panzerspahwagen КНИГИ ;ВОЕННАЯ ИСТОРИЯ Издательство: Podzun-Pallas-VerlagСерия: Waffen-Arsenal 89Автор(ы): Horst ScheibertЯзык: GermanГод издания: 1984Количество страниц: 52ISBN: 3-7909-0232-2Формат: pdf (200 dpi) 2258x1598Размер: 44,4 mb RAPIDили IFOLDER eighty five
The phenomena mentioned by way of the authors diversity from man made compounding in English to contract alternations in Arabic and complementizer contract in dialects of Dutch. Their exposition combines insights from lexicalism and allotted morphology, and is expressed in phrases obtainable to students and complicated scholars.
Extra resources for André Téchiné
This also means that a kind of Brechtian critical distance lingers on in Téchiné’s cinema, in that emotional identiﬁcation with protagonists is refused in favour of a foregrounded portrait of social and psychic structures. The ﬁlm’s spatial relations, other than outside–inside, are structured, prosaically, by that between province and city (a yearning on Branwell’s part even for Bradford, but most notably in the ﬁnal London sequence). Isolation is emphasised at moments of departure and return with shots of carriages on the long, empty road leading to and from the parsonage, accompanied by the howling wind.
With a bigger budget than Souvenirs d’en France, produced by Alain Sarde with ﬁnance from Les Films de La Boétie – which made many of Claude Chabrol’s ﬁlms of the period – and Sara Films, this highly stylised excursion into the romantic thriller genre, again co-written with Marilyn Goldin, is set in a northern, Frenchspeaking city (in fact the ﬁlm was shot in Amsterdam). It casts Isabelle Adjani as Laure, whose boxer boyfriend Samson (Gérard Depardieu) is bribed by rival political factions and their supporters in organised crime in turn to confess to, then refute, homosexual involvement with one of the candidates at a forthcoming election.
Her reply marks a ﬁrst concession to his discourse: ‘Elle meurt de soif, la septième’ (‘The seventh is dying of thirst’). He gets up to fetch more drinks and to put on some music ‘pour faire plus gai’: an Italian love ballad. The camera tracks him to the bar and jukebox. She looks out of the window, a point of view shot frames the empty platforms and seats. A medium close-up sees her popping some pills and resting her face on her hand. The camera follows Gilles back to the table, cutting from behind him to in front of him to watch his expression as he looks at Hélène, who has fallen asleep.