This chapter discusses three films in which Joseph Losey collaborated with Harold Pinter. Pinter's characters use language to mock and punish each other, not to find common emotive ground. Yet this is never a direct assault, for Pinter's conversation often comes across as light, oblique badinage, a verbal smokescreen designed to block communication rather than encourage it. This accounts for Pinter's fondness for both verbal and physical games the improvised ball game on the stairs in The Servant, and the recurring tennis and cricket matches in Accident and The Go-Between that are ideal, playful fronts for expressing his characters' more Machiavellian strategies. While Pinter softens Losey's didactic tendencies, teasing out the director's love of ambiguity and nuance while adding a spice of mordant wit to his Puritan dourness, Losey takes Pinter outside the confines of locked rooms into closer contact with the real world.

Catherine Deneuve's Italian career is relatively brief: she made three films in the early 1970s, and ten years later participated in one further production. This chapter identifies and analyses the star qualities of Catherine Deneuve as they are manifested in these films. Career profiles of Bolognini and Monicelli show that her work with them can be located exclusively within the traditions of Italian national cinema. The chapter shows that Deneuve's most significant Italian films are those she made with Marco Ferreri, in particular La cagna Ferreri, is a filmmaker much more difficult to classify as belonging within a single national cinema. Through close scrutiny of the individual film, it argues that the discourse of the film offers a complex nuancing of Deneuve's star image. At the same time, the chapter demonstrates that nevertheless, questions of continuity and difference of image inevitably inform any critical analysis of her Italian career.

This chapter identifies how a consensual approach to negotiations was developed between the Irish and British Governments and how this approach informed understanding about what an agreement would look like.

The linkages between shots in David Wark Griffith's films are 'matched' in the sense that no matter how strained these matches may be to a point that they seem to 'jump' (Intolerance) , to expose a gap, the continuity that underlies them is always reasserted. One of Griffith's most beautiful Biograph films is the 12 minute The Unchanging Sea made in 1910. The Adventures of Dollie, made in 1908, is among the earliest films Griffith made for Biograph. It tells the story of the kidnapping of the little girl Dollie and her subsequent reappearance. Essentially, The Adventures of Dollie presents a linear series of events. Time is successive based on logical connectives of consequent action. Griffith's invention of new cinematic means, primarily of montage, were stimulated by the desire to transpose the effects of the legitimate naturalist theatre (where language was central) to the cinema (where speech was absent).

Though La Haine may well have emphatically announced the arrival of Mathieu Kassovitz the director to French cinema audiences, it was in fact two years earlier and as an actor that he was first officially recognised as one of French cinema's emerging young talents. By the mid-1990s, Kassovitz had been identified as an actor of considerable talent with, potentially, a significant screen career ahead of him. This chapter addresses whether or not we can think of Kassovitz in terms of stardom, that 'elusive quality', defined by Vincendeau, as the: 'amalgam of character type, performance style, looks and "aura" that allows a few actors, in Richard Dyer's words, to "crystalise and authenticate" social values and become emblematic of their time'. With the official selection at Cannes of films such as La Haine and Assassins, he announced his presence in the mid-1990s as the young rebel of French cinema.

Scholars have underlined the problematic nature of identifying a single aesthetic strand in Louis Malle's cinema. There is a strong case to be made that shows that Malle's films conform to a consistent aesthetic pattern that can be traced across the dramatic oeuvre. This chapter explores the key aesthetic components that make up Malle's more general filmic grammar and then questions why despite these consistencies he remains a director who for many film scholars continues to be associated with eclecticism. It highlights other traditions quite distinct from classical realism, that also feature in Malle's work. Understanding the unlikely partnership of surrealism and documentary film-making in Mallean aesthetics is important to any introduction to the director. The dominant mood is classical realism and the most common additional contributory currents to that aesthetic choice are derived from the surrealism and the bold realism of cinéma direct.

This chapter discusses three novels: Julian Barnes' England, England, Monica Ali's Brick Lane and Philip Hensher's The Northern Clemency. It explores how each of these novels registers the growth of the free market and its effect on Englishness. The free market has produced two basic effects on the novel. First, it has weakened the link between language and place, which was a feature of Patrick Parrinder's hierarchy of discourses. The second effect of the free market is on the portrayal of 'character', one of the staples of English fiction. English culture is seen through the eyes of immigrants in one of three ways: as bound up with the British empire; as a source of freedom; or as a moral and spiritual wasteland. In Brick Lane, Chanu's attitude to history and culture contrasts with the attitude to history and culture that we find in England, England.