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	<title>Comments on: Flashback #53</title>
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	<link>http://theseventhart.info/2009/04/25/flashback-53/</link>
	<description>&#34;Cinema does not cry. Cinema does not comfort us. It is with us. It is us&#34;</description>
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		<title>By: Inglourious Basterds: Afterthoughts &#171; The Seventh Art</title>
		<link>http://theseventhart.info/2009/04/25/flashback-53/#comment-2289</link>
		<dc:creator><![CDATA[Inglourious Basterds: Afterthoughts &#171; The Seventh Art]]></dc:creator>
		<pubDate>Sun, 11 Oct 2009 03:46:44 +0000</pubDate>
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		<description><![CDATA[[...] us for life – either as a hero or as a coward (“merely human” would be the euphemism). Sansho the Bailiff (1954), even with its heavy pathos, is a melodrama whereas The Dark Knight (2008), despite its [...]]]></description>
		<content:encoded><![CDATA[<p>[...] us for life – either as a hero or as a coward (“merely human” would be the euphemism). Sansho the Bailiff (1954), even with its heavy pathos, is a melodrama whereas The Dark Knight (2008), despite its [...]</p>
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		<title>By: Flashback #54 &#171; The Seventh Art</title>
		<link>http://theseventhart.info/2009/04/25/flashback-53/#comment-1492</link>
		<dc:creator><![CDATA[Flashback #54 &#171; The Seventh Art]]></dc:creator>
		<pubDate>Tue, 28 Apr 2009 14:19:43 +0000</pubDate>
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		<description><![CDATA[[...] no better than a nanny for his kids. Like Mizoguchi (whom he admires, according to his essays) in Sansho the Bailiff (1954), Ray uses his mise en scène to express more than what the script does. But unlike Mizoguchi [...]]]></description>
		<content:encoded><![CDATA[<p>[...] no better than a nanny for his kids. Like Mizoguchi (whom he admires, according to his essays) in Sansho the Bailiff (1954), Ray uses his mise en scène to express more than what the script does. But unlike Mizoguchi [...]</p>
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