Mike Leigh

Index

Index Abigail’s Party (1977), 156 abortion, 33, 107; and All or Nothing, 107, 111–13; as centaur of absence, 18, 32; and Hard Labour, 100, 107, 122, 164; and High Hopes, 100, 107, 122; and Naked, 107, 122; and plot, 112; and Topsy-Turvy, 97, 107, 122; and Vera Drake, 8, 15, 19, 24, 36, 48, 100, 107, 109, 117–18, 120, 122, 124–25, 127, 149 abortion clients (mini-narratives in Vera Drake), 15, 24, 48, 70, 108–9, 117–19, 125 absence: centaur of, 18, 32; of plot, 37– 38, 54; and presence, 15, 32–33, 77, 87, 138, 143n14; of small children, 6–7 abstract art and cinema, 3, 32, 33, 63, 148 absurdism and the absurd, 24, 94, 100 accident: and All or Nothing, 143n16; and Career Girls, 88; and Four Days in July, 41; and Leigh’s cinema, 8, 68; and Leigh’s process, 160–61; and Naked, 63, 68; as the random, 71, 88, 134; and Secrets and Lies, 75; and Topsy-Turvy, 88, 94, 100, 101 actors and acting: and Career Girls, 86–87, 95; as centaurs, 104; and Leigh’s process, 2, 4–6, 34, 68–69, 105–6, 134, 142n2, 142n3, 150–54, 160–61; and Naked, 68–69; and Secrets and Lies, 72, 77, 108; and The Short and Curlies, 27; and Topsy-Turvy, 11, 90, 96, 104–5 Adefarasin, Remi, 155 aesthetics: and Leigh’s cinema, 147, 154, 156; and realism, 9; and Secrets and Lies, 77–78; and The Short and Curlies , 26; and Topsy-Turvy, 95, 98 allegory, 17, 51, 63, 76, 82 Allen, Woody, 149 alley shot: and All or Nothing, 30, 157; and Four Days in July, 30, 43–44, 157; and High Hopes, 30, 157; and Naked, 30, 58, 71, 83, 138, 157; and The Short and Curlies, 30 All or Nothing (2002): and abortion, 107, 11–13; analysis of, 105–32; and centaur, 26; and coincidence, 94, 110, 114–15, 143n16; and face-to-face, 110, 128–29; and interiority, 108–9, 129; and Meantime , 110–11, 115; and mini-narratives (cab passengers), 15, 16, 24, 48, 70, 108–9, 111, 112–13, 117, 119, 135; and minor characters, 24; and names, 16, 111–12, 143n13, 160; and Naked, 108; and names, 16, 160; opening shot of, 30, 43, 157; and parallel families, 110, 112; and pregnancy, 107, 110, 112, 116; and realism, 24; and side-by-side, 16, 26, 110, 128–29; title of, 26; and topsyturvydom , 115; and unbroken shot, 110, 128–29; and Vera Drake, 105–32 Almodóvar, Pedro, 148 Altman, Robert, 35 Amelio, Gianni: 143n8 Andersson, Roy, 157 Angel Heart (Parker), 146 angry-young-man movie: and Naked, 56, 67, 69 i-xii_1-196_O'Sul.indd 181 6/24/11 8:33 AM 182 | Index Another Year (2010): analysis of, 132–42; and centaur, 135–37, 141; and central character, 132, 137, 138, 140–42; character as system in, 137; and HappyGo -Lucky, 132–42; and luck, 132–33, 137; and mini-narratives, 133, 137; and Naked, 133, 138, 141; and party scene, 119; and plot, 133, 135–38; and pregnancy , 107; and rooms, 141–42; and The Short and Curlies, 141–42; and sound, split from sight, 141–42; and train as cinematic device, 143n11; and unbroken shot, 133, 141–42; and Vera Drake, 132, 140 Antonioni, Michelangelo, 32, 35, 152 Apollo, 104 art and artists: applied art, 77; genre art, 9; and Naked, 65–69; painting, 3, 8, 48; and Secrets and Lies, 65–66, 77–80, 108; and Topsy-Turvy, 10–11, 21, 66, 82, 90, 99–100, 102 artifice and the artificial: and Career Girls, 81, 89, 114; and Four Days in July, 40; and Leigh’s cinema, 3–5, 10–11, 22, 24–26, 147; and Naked, 62; and names, 111; and realism, 3–5, 10, 16, 22, 24–26, 62–63, 104; and sideby -side, 16, 131; and The Short and Curlies, 24–26; and Topsy-Turvy, 11, 104, 114 audience, 16, 90, 131, 157, 159; and Topsy-Turvy, 97, 99–100 Austen, Jane, 67, 69–71 authenticity and the authentic, 1, 7, 10, 94, 105 authorship and the authorial, 10, 34, 48, 81, 134, 138 barbecue. See party scene Battle of the Boyne (1690), 40, 41, 49, 51 Bazin, André, 9, 156 Beckett, Samuel, 3, 4, 34, 38 Belfast, 39, 40, 44–46, 96 Bennett, Alan, 147 Bergman, Ingmar, 32 Bible and the biblical: and Another Year, 136–37; and...