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Written for screen by one of the greatest English dramatists and Nobel Laureate, Harold Pinter and directed by Karel Reisz, the film The French Lieutenant's Woman, appearing in 1981, is the cinematic adaptation of John Fowles' novel by the same name that created ripples in the literary circles in 1969. Keeping in with the appreciation of the novel, the cinematic version of The French Lieutenant's Woman too continued to capture the imagination of the classes and the masses alike bagging several prestigious awards. The proposed paper intends to study all these variegated shades and designs that further intensify the experimental spirit of the film. Focusing on the movie within the movie that imbues the cinematic adaptation of the novel with a quintessential Pinteresque intensity, the paper explores in depth the subtle nuances offered for intellectual probing through the ingeniously contrived sub-plot. Running as a subtle counterfoil to the main plot of Sarah and Charles, the tempestuous love affair between Mike and Anna--the actors playing Charles and Sarah respectively--the subtext of the movie invites concerted critical endeavors in exploring the intellectual conundrum that confronts us on the silver screen. The paper engages itself in the task of reading through such intellectually stimulating improvisations which subtly reflect the post-modernistic tone and tenor. For this purpose, the paper focusses especially on studying the parallels and proselytes that characterize the protagonists as Sarah and Anna in the main and the sub-plot respectively. The paper also studies the mise-en-scene devices such as light, sound, colours, camera movements, focus, background music, and different types of shots employed in the movie, all of which poetically render the rich contours of the work. [ABSTRACT FROM AUTHOR]

From his first film--a twenty--minute short, "Expectations" (1982)--to his last--a three-hour masterpiece, Yi Yi (2000)--Edward Yang, one of the leading figures of the Taiwan New Cinema movement, devoted his career to portraying the impact of neoliberal capitalism on the lives of the citizens of Taipei. Interestingly, Yang's films often employ female perspectives to criticize Taiwan's education system and transnational corporations for perpetuating neoliberal capitalism's ideology of self-fulfillment and upward mobility. This paper draws upon feminist film theory to investigate the ways in which Yang's third feature, The Terrorizers (1986), utilizes various innovative cinematic languages to engender a multitude of women's perspectives to expose male voyeurism and ultimately criticize the impact of neoliberal capitalism in Taipei. [ABSTRACT FROM AUTHOR]