![]() ![]() Urbana: University of Illinois Press.īob the moo (2006) ‘Agent Cody Banks (2003) - IMDb user reviews’, The Internet Movie Database. Available at: (accessed 2 August 2011).īerrettini, Mark L. Ann Arbor: University of Michigan Press.īen Walsh (1999) ‘The Opposite of Sex (1998) - IMDb user reviews’, The Internet Movie Database. This process is experimental and the keywords may be updated as the learning algorithm improves.Īndrew, Geoff (1996) ‘Double Exposure’, Time Out, 21–28 August: 26–7.īaron, Cynthia and Sharon Marie Carnicke (2008) Reframing Screen Performance. These keywords were added by machine and not by the authors. It’s perhaps surprising to consider that at that point, Donovan and Hartley hadn’t collaborated for four years, and, with the exception of the short hour-long feature The Book of Life (1998), Donovan hadn’t appeared in a lead role in a theatrically released Hartley film since Amateur in 1994. Although I was aware of Donovan’s work in other independent films, such as Michael Almereyda’s Nadja (1994) and Don Roos’ The Opposite of Sex (1998), his persona was utterly fused with Hartley’s work. ![]() For me, Donovan’s star persona had exceeded the boundaries of his role, as often occurs with star performances, where the persona of the star is sometimes uncontainable by the role (indeed, it is often fused with the role). Given that my work at the time focused on Hartley’s work, specifically around ideas relating to performance, Donovan’s appearance took on special significance, more so than the much-vaunted performance of Pacino. I was surprised to see Martin Donovan appear as Pacino’s partner in the film. The majority of the hype surrounding the film had promoted the performance of Al Pacino in the lead role, as well as Nolan’s role as the auteur of the film. During that summer, I went to see Insomnia, Christopher Nolan’s follow-up to Memento (2000). In 2002, I had just begun to work on a book about the films of Hal Hartley. ![]()
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