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The scene introduces the male hero, Mark Rudand, who like Strutt recalls the secretary in terms of her body (\"the brunette with the legs\") and is also amused by the robbery and Strutt's claims of victimization. 3) The enigmatic thief is then partially revealed with her new purchases, rifling through her various identity cards and choosing a new one, and then rinsing the black dye out of her hair. The most blatant are the suffusions of red she sees, triggered by the color (though this is selective; the color red appears, for example, at the hunt before the panic attack begins) as well as the dreams of being forcibly removed from bed and having to separate from her mother. A number of Mamie's panic attacks take place with Mark, at the workplace, in Mark's office, at the races, and are also indicative of Marnie feeling a loss of control, in part because of a growing attraction to Mark that is threatening to her. Mamie's desire for her mother's love is expressed in her repeated gesture of placing her head on her mother's lap, and though her mother's hand hovers over Mamie's hair, she cannot fully love the adult and rejects her, using the excuse of the injury and its implications of sexual violence, \"Marnie you're achin' my leg.\"

After a few false starts (the murderer is not entirely sure of the location, given the homogeneity of the landscape, the darkness, his state of drunkenness at the time of the killing) and a short respite at the home of a local Mukhtar, the mayor of a nearby village, the site and body are found and the corpse is collected. At the doctor's office the next day he agrees finally that the death probably was a suicide, perpetrated as a form of punishment, but postponed until after the birth of the baby to honour his wife's responsibilities to her unborn child. Some of the group (the professionals like the prosecutor and doctor) are grounded in the secular world, committed to civil law and procedure that will help secure modernity and usher in Turkey's acceptance into the European Union, as is discussed when the men restrain Nacir from physically hitting Kenan and insist he stick to proper conduct and protocol. The woman he describes, Nacir's wife who is reduced to a nagging voice on the phone, and the wife of the murder victim who is denied a voice in the paternity fight over her son which renders her vulnerable as a widow, are all as disempowered in the secular world as the women in the Mukhtar's dying village.

Interestingly, another film released this past year, the Coen brothers' Inside Llewyn Davis, set in the New York of the 60's, also explores the pursuit of self-realization and displays an awareness of the relationship between characters and urban space. Frances Ha also acknowledges the significance of Frances losing the love of her life, her college friend Sophie/Mickey Sumner, who she sees as a partner, to the changes inherent to growing up and maturing in a culture that often demands a renunciation of women's close bonding. Unlike Inside Llewyn Davis which is a film about the protagonist's failure to acclimatize to his social world, Frances, without compromising her aspirations, reaches the point where she can let go of Sophie and welcome her identity as an individual and a potential choreographer, and can live on her own as an independent, vibrant young woman.

Perhaps because of his casting in diverse roles pertaining to WWII, for example, a war criminal in Man in a Glass Booth, or a resistance fighter in Julia, he evokes the Germany of the war and its aftermath, and the conflicted feelings associated with a man of Austrian descent in that time frame. In CineAction #15, Winter 88/89, we co-authored an article entitled, \"Falling In Love Again: Notes on Film Criticism and Marlene\" which offers an analysis of Schell's Marlene (1984), a documentary on the career and star image of Marlene Dietrich. The fact that both are professional actors who had successful careers in Europe and America contributes to the complex and rich meditation that Marlene offers, on both performance and the position of the international star in the preand post -war years.

When the shop owner oversteps his place as a client, perhaps regretting what he has exchanged, and compliments Alice sardonically for her good taste (referring ambiguously to both him and the bowl), she resets the parameters of the relationship with her quick retort, \"Apparently notI slept with you\", and refuses to allow him to return at any price. Xavier is outbid for it at a charity auction, but the successful buyer, another therapist, Pierre Cassagne/Richard Debuisne trades the angel for Xavier's less valuable purchase because, he explains, the things in themselves have no value beyond their role of fundraising for the charity. The psychiatrist who helps Alice is discerning when therapy is necessary and when it is an indulgence that is immoral if its sole purpose is to enrich the therapist and disempower the person seeking help. At first I thought the film's ending, in which the doctor refers Alice to a new job related to her field of art history was too easy a resolution; however, the film's final shot of Alice looking almost directly at the camera suggests that the psychiatrist has simply redirected Alice back to herself, giving her the self- confidence to understand that she has the strength and tenacity she needs to change her life.

CineAction's subtitle-a magazine of radical film criticism & theory-was later dropped, but initially we needed a film magazine open to the appreciation of the political in popular culture and the attendant pleasures found in the cinema. [...]of CineAction's inception, the author was dead (an editor of Jump Cut commented on my submission of Max Ophuls' Caught, whether I was seriously suggesting that Ophuls intended the lucid critique of women's oppression dramatized in the film) and semiotics didn't always allow for a film's nuance, complexity or ambiguity in its theoretical grid. Looking at several issues on genre I edited-Horror, Global Apocalypse, Science Fiction, Fantasy and CGI-clearly showed how critics like Robin Wood had politicized a generation of genre criticism. [...]what kept us political was the influence of two great political film critics, Andrew Britton and Robin Wood.