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xi | |
Preface |
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xv | |
Introduction |
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1 | (1) |
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2 | (1) |
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Can't we just enjoy films? |
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2 | (4) |
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Film Studies as a subject |
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6 | (2) |
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8 | (4) |
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History, social context and politics |
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12 | (1) |
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Hollywood and alternative cinemas |
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13 | (1) |
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13 | (1) |
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13 | (2) |
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PART 1 MAKING MEANING 1 (FS1) |
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15 | (102) |
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Film form: What is film construction? What does it mean to say a film has been `put together'? |
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16 | (27) |
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16 | (1) |
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17 | (2) |
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Mise en scene: performance and movement |
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19 | (4) |
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Mise en scene: costume and props |
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23 | (3) |
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26 | (2) |
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28 | (3) |
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Cinematography: camerawork |
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31 | (4) |
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35 | (3) |
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38 | (2) |
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40 | (2) |
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42 | (1) |
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42 | (1) |
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42 | (1) |
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Narrative: Aren't all films just stories? What is narrative structure? |
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43 | (26) |
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43 | (1) |
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44 | (3) |
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47 | (12) |
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Narrative structure and the viewer |
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59 | (5) |
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64 | (3) |
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67 | (1) |
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67 | (1) |
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67 | (1) |
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68 | (1) |
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Genre: What is genre and why it is such an important term in Film Studies? |
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69 | (19) |
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69 | (1) |
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70 | (10) |
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80 | (6) |
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86 | (1) |
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86 | (1) |
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87 | (1) |
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Overview: How should we approach a film we have not seen before? |
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88 | (7) |
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88 | (1) |
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89 | (3) |
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92 | (1) |
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92 | (2) |
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94 | (1) |
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Practical application of learning |
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95 | (22) |
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98 | (3) |
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101 | (4) |
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105 | (2) |
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107 | (6) |
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113 | (1) |
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114 | (1) |
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114 | (3) |
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PART 2 PRODUCERS AND AUDIENCES: HOLLYWOOD AND BRITISH CINEMA (FS2) |
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117 | (96) |
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118 | (24) |
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The global and local dimensions |
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118 | (2) |
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120 | (1) |
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120 | (6) |
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Films as commercial products |
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126 | (1) |
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Adaptability of the film industry |
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127 | (5) |
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132 | (5) |
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Film production, distribution and exhibition |
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137 | (2) |
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139 | (1) |
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140 | (1) |
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140 | (1) |
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140 | (1) |
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141 | (1) |
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Audiences as fans and consumers |
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142 | (19) |
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The early cinema experience |
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142 | (4) |
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Changing patterns of consumption |
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146 | (1) |
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The role of the audience in the filmmaking process |
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147 | (6) |
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Censorship and classification |
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153 | (2) |
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155 | (1) |
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155 | (2) |
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157 | (2) |
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159 | (1) |
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159 | (1) |
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159 | (1) |
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160 | (1) |
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Stars -- What are they and why do we have them? |
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161 | (15) |
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161 | (1) |
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162 | (12) |
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174 | (1) |
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174 | (1) |
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175 | (1) |
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175 | (1) |
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Hollywood back in the day and Hollywood today -- Old Hollywood and New Hollywood |
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176 | (19) |
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Old Hollywood--New Hollywood: a simplification |
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176 | (2) |
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Actors, directors and agents |
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178 | (1) |
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179 | (2) |
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181 | (2) |
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Distribution in Old Hollywood and New Hollywood |
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183 | (10) |
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193 | (1) |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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Is the British film industry in any way distinctive and different? How does it cope with having to survive in the shadow of Hollywood? |
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195 | (6) |
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A distinctive and different cinema |
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196 | (3) |
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199 | (1) |
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200 | (1) |
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New technologies in the film industry |
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201 | (12) |
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202 | (2) |
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Film and changes in technology |
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204 | (6) |
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210 | (1) |
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211 | (2) |
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PART 3 MESSAGES AND VALUES -- BRITISH AND IRISH CINEMA (FS3) |
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213 | (110) |
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Introduction: What is the relationship between films and the everyday world? |
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214 | (4) |
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The 1940s: The war and its aftermath |
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218 | (17) |
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In Which We Serve -- summary |
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219 | (1) |
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Passport to Pimlico -- summary |
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220 | (3) |
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223 | (3) |
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Class, rank, and gender representation |
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226 | (2) |
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Social and political institutions |
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228 | (2) |
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Propaganda and the historical context |
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230 | (1) |
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231 | (2) |
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233 | (1) |
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233 | (1) |
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233 | (2) |
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Swinging Britain: 1963--1973 |
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235 | (18) |
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236 | (4) |
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240 | (3) |
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London versus the regions |
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243 | (2) |
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National/regional identity |
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245 | (2) |
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Class, sexuality, and gender representations |
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247 | (2) |
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Social and political institutions and the rise of youth |
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249 | (1) |
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250 | (1) |
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251 | (1) |
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252 | (1) |
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252 | (1) |
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253 | (20) |
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Focus film: Beautiful Thing |
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256 | (2) |
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Analysis of the opening of the film |
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258 | (2) |
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Beautiful Thing and narrative structure |
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260 | (2) |
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Messages and values: resolution in Beautiful Thing |
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262 | (2) |
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Analysis of the final sequence of Beautiful Thing |
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264 | (1) |
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Why does representation matter? |
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265 | (7) |
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Suggestions for further work |
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272 | (1) |
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272 | (1) |
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Social and political conflict |
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273 | (16) |
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Focus film: Bloody Sunday |
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275 | (1) |
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Political and Institutional contexts |
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276 | (3) |
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Film language: the docudrama |
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279 | (2) |
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Real events and narrative structure |
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281 | (1) |
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Messages and values: identification and representation in Bloody Sunday |
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282 | (5) |
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Comparative analysis: In the Name of the Father |
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287 | (1) |
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Suggestions for further work |
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288 | (1) |
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288 | (1) |
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289 | (17) |
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290 | (2) |
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292 | (3) |
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295 | (3) |
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298 | (1) |
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Class, regional identity, sexuality, and gender representation |
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299 | (2) |
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Social and political institutions |
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301 | (2) |
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303 | (1) |
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304 | (1) |
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305 | (1) |
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305 | (1) |
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306 | (17) |
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306 | (1) |
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307 | (1) |
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Film and ways of seeing the world |
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308 | (10) |
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318 | (2) |
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320 | (2) |
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322 | (1) |
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322 | (1) |
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322 | (1) |
Glossary |
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323 | (11) |
Web resources |
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334 | (2) |
Bibliography |
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336 | (3) |
Index |
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339 | |