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As a result, I sometimes have to spend a lot of time searching for a particular sentence or scene, and in many cases I just can’t place it at all. Another reason why annotations may be rejected is because I couldn’t confirm the reference. Mind you, sometimes I’ll include references that are simply so cool, or so authoritative-sounding, that even though I don’t know anything about the subject myself, I feel they will enhance the file. However, I often receive annotations that are rather vague and non-specific, and which I do not wish to include without some further confirmation. This confirmation can for instance consist of someone else mailing me the same annotation, or of me delving into encyclopedias or dictionaries and checking things myself. Now note that these are not fixed properties, and that as soon as I start getting the same annotation from multiple sources, I will nearly always accept it for the APF, regardless of what I may think about it myself. However, as long I have received a particular annotation from one source only I’m going to have to make what is basically a very subjective judgement call — that is what editors are for. If an annotation strikes me as implausible or just not very interesting, then it’s out. If I think it’s valid, or if I just like it, then it’s in. If a trivial annotation is in the same category as many others already in the file, then it will usually be in (I am a stickler for consistency), unless I’m bored, in which case I simply want to get on with the fun stuff, and I leave it out. The important point I want to get across here is that none of these annotations are rejected permanently, and that everything is filed away for future reference. They may very well be used in later versions of the APF.

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Their relationship is rife for dramatic exploration and I don’t know any writer worth his salt that wouldn’t want to tap into that, particularly now that Sansa has grown and developed and they could flip the dynamic on its head, showing what Sansa has learned from all of her tormentors, Cersei included. This is also important because Sansa needs to go back to her: “If I am ever queen, I will make them love me” mentality. Right now she’s vacillating and the question of her admiring Cersei hangs in the air, as per Jon’s observation. The simplest way for Sansa to fully reject Cersei’s worldview is by being faced with her once again, and choosing to the the Queen that people love, not the Queen that people fear. It’s kind of a play on being faced with who you might become if you choose one road instead of another, sort of thing. 2. The Younger, More Beautiful Queen: this prophecy has tormented Cersei her entire life and it’s bound to conclude in its final act. If Sansa is the younger, more beautiful queen that will cast Cersei down and take all that she holds dear, it makes sense that she would be present for Cersei’s demise, whatever that might be. As she herself puts it to LF: She’s taken from monsters that murdered her family and given to other monsters that murdered her family. Her “rescues” are simply an exacerbation of her confinement. No one saves her. The one that comes closest is Theon but it’s Sansa that pushes him to that point and thematically speaking this action is linked more to Theon regaining his identity that Sansa Stark being saved.

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I have similarly included both feature-length diploma films shot at European film schools, such as Elaine Proctor’s On the Wire, her graduation film at the National Film and Television School at Beaconsfield in the United Kingdom, and the work in exile of such young Nigerian filmmakers as Newton I. Aduaka (Rage, 2000, and Ezra, 2006), Branwen Okpako (Valley of the Innocent, 2002), and Adaora Nwandu (Rag Tag, 2006). But there is a problem in that certain 5 films regarded as nationally significant in Africa have not been made by Africans. Even after the founding of the Misr studios in Egypt (where the first feature to be produced, Weddad, was directed by the German Fritz Kramp), foreigners have continued to play a part in Egyptian filmmaking. Throughout the history of South African filmmaking, South African producers have imported English and American directors for their own productions or been involved, as co-producers, in films directed by foreigners. Thus the listings by South African critics and historians include routine films by British directors such as Ken Annakin, Harry Watt, Cy Enfield, Val Guest, Dan Chaffrey, Peter Collinson, Peter Hunt, and J. Lee Thompson, many of which, from a UK perspective, would seem to be essentially British films shot on location. The problem is aggravated in the case of South Africa by the fact that three of the films which are key to any definition of filmmaking in South Africa were in fact directed by foreigners. The first South African feature 6 Dictionary of African Filmmakers to show (if only hesitantly) the realities of black urban life, Cry the Beloved Country (1951), was directed by the Hungarianborn Zoltan Korda and produced by his brother Alexander’s London Film Company. Come Back Africa (shot in 1958 but not screened in South Africa until 30 years later) was the first feature to document black township life, with its mix of rural migrants and urbanized intellectuals, but it was independently produced and directed by a wealthy New York Jew, Lionel Rogosin. While the “Africanness” of these films can be endlessly debated, to omit them here would be to distort totally the development of filmmaking in South Africa. So are Harold Shaw, Zoltan Korda, and Lionel Rogosin to be regarded as African filmmakers.

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From there, the film asks many questions: What are the true motivations of the sisters’ cruel stepmother. What really happened to the sisters’ birth mother as she wasted away from illness in their now-haunted home. It’s certainly a film that almost necessitates repeated viewings, as its twisting plot development is rather tough to grasp the first time through. At times, it almost carries the world-weariness and sense of encroaching inevitability of a Shakespearean tragedy. — Jim Vorel. The Ghost and Mrs. Muir stands out as a classic ’40s romantic fantasy, following a young widower who moves with her young daughter into a seaside home, where she meets the cantankerous, rough-around-the-edges ghost of its former sea captain owner. Slowly, a most unlikely romance blooms between the two, as our protagonist (Gene Tierney) uses the life experiences of the captain (Rex Harrison) to write a best-selling memoir. It’s all fairly straightforward, replete with the kinds of “misunderstandings” and false starts you’d expect in most romances of the period, but Harrison is rather dashing as Captain Gregg, and the bittersweet ending is the stuff of Golden Age Hollywood glitz and glamor. It’s an excellent “ghost movie” for date night, provided you’re dating a historical film buff. — Jim Vorel. Few directors have had such a weird knack for horror and gross-out humor as early career Jackson—he’s in a company shared by the likes of early career Sam Raimi in that regard.

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