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Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

extraordinaire and the notion of the authored art film. Sweden had Ingmar Bergman, Italy had, for instance, Fellini, Rossellini, Visconti, and Antonioni, France had the Cahiers du Cinéma generation, towards the end of decade represented by the breakthrough of the nouvelle vague , with Truffaut, Godard, Rohmer and Chabrol. Traditionally, Britain has been said to have missed out on the development of auteurism

in British cinema of the 1950s
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Woman in a Dressing Gown
Melanie Williams

able to identify with the characters, and explains how the character of Amy has meant something to women all over the world: ‘Argentinian, German, Swedish, Dutch and British women have told me that they “know Amy”, that a woman like this lives “next door” or “along the road”.’ 21 However, the women’s recognition of Amy is not personal identification but outward identification; she is not like them

in British cinema of the 1950s
Basil Glynn

) described the potential profitability of Henry’s global stardom when he declared that he remains ‘a subject for the world market’, 26 and in the case of the TV series he was right. It ‘was sold to countries as diverse as Japan, Australia, Canada, Sweden, Finland, Belgium and West Germany, and was bought by the CBS network which broadcast it on American television’. 27 To underscore this global popularity, it is worth

in The British monarchy on screen