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Des O’Rawe

difference and change that characterises the framing are directly influenced by existential concerns.24 There is more than enough of everywhere in San Clemente, just as the defiant farmers from the Cévennes region share more than one might think with the nomads and peasant workers of North Africa and South-­East Asia. Possibly, the tensions and paradoxes that have characterised Depardon’s work since the 1970s (here­/there, document­/fiction, image­/text, anchor­/ relay, objective­/subjective) issue from the traveller’s desire to rediscover the whereabouts of home: ‘I don

in Regarding the real
Abstract only
Barry Jordan
and
Rikki Morgan-Tamosunas

Spanish films than ever are finding their way into foreign markets (including Korea and South East Asia). Overall levels of quality and production values are much improved. The sheer variety and commercial appeal of contemporary Spanish cinema is remarkable (given the size of the industry) and Spanish films and directors are picking up numerous prizes and awards both at national and international film

in Contemporary Spanish cinema
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The legacy of The Birth of a Nation
Ian Scott
,
Douglas Field
, and
Jenny Barrett

the controversy, his friend and now filmmaking partner, Jean Celestin – who was co-story accredited on The Birth of a Nation – had not. When, finally, The Birth of a Nation went on general release in October 2016, its box-office return was a disappointing $16 million, prompting Fox Searchlight to cancel the film’s theatrical release in parts of South-East Asia, Latin

in D.W. Griffith’s The Birth of a Nation
Metrosexuality and The Murder of Stephen Lawrence
Geraldine Harris

gender as performative, the problems and limitations of the manner in which this theory has been taken up are still apparent. On the other hand, and perhaps more importantly, this is also a multi-ethnic, diasporic community. Kwame’s mother is white northern British but his two dads (Jordan and Max), Max’s lesbian sister Cindy (Carleen Beadle) and Jordan’s new boyfriend Jonno (Silas Carson) are all African Caribbean British and the other characters embrace South and South East Asian and Jewish British identities. While the main focus of the piece is on issues of

in Beyond representation
Douglas Morrey

factories of Eastern Europe or the sweatshops of South-East Asia and, moreover, a film that seeks not to excite the pity of a bourgeois western audience but to examine the concrete conditions of possibility of a socialist revolution. The fact remains, churlish as it may appear to say it, that Pravda is not a lot of fun. Godard, over this period of his career, repeatedly cited Chairman Mao’s assertion that ‘la révolution n

in Jean-Luc Godard
Spanish horror film in the marketplace
Antonio Lázaro-Reboll

English-speaking territories for $4 million. This commercial operation, plus other major pre-sales to European, Latin American and East Asian territories, helped boost the budget to $11 million. The film’s financial success during the production process was confirmed in its world première in Sitges at the 35th International Film Festival of Catalonia, a key moment in the international horror film calendar

in Contemporary Spanish cinema and genre
Gemma King

Foreign Legion soldiers in Beau travail (1999), a film composed of dialogue in French, Russian and Italian. Denis continues to film in both France and various African countries, while also delving into representations of disparate cultures such as that of Russia, parts of South-East Asia and the South Pacific (as in her 2004 film L’Intrus, set in France, Switzerland, South Korea and French Polynesia). Her films are inherently transnational, not only in terms of production but of narrative, ‘prob[ing] the liminal space between self and other and the borderlands between

in Decentring France
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Filming desire
Renate Günther

sequence, and accompanied by a woman’s voice, singing, laughing and speaking in her native language. Two other female voices then present fragments of the story with which readers of Le Vice-consul are already familiar: the beggarwoman from Savannakhet in Laos who was chased from her home by her own mother, when she fell pregnant at the age of 17. Since then she has walked for ten years across East Asia and has now reached her

in Marguerite Duras
Douglas Morrey

suggest the burning jungle, while Ferdinand, dressed as a sea captain, brays the only words of American English he appears to know: ‘Sure! Yeah! New York! Oh yes! Hollywood! Yes! Communist! Yes!’. Meanwhile, Marianne, with painted face and oriental costume, performs an approximation of East Asian vowel sounds, the escalating conflict signalled by the rising tone of voice of the two performers. Yet, with this overtly simplistic

in Jean-Luc Godard
Douglas Morrey

history has become so interesting to so many, some commentators have suggested, it is because history itself is at or nearing its end. The hypothesis of the end of history has been most famously asserted in recent times by Francis Fukuyama who identifies a ‘liberal revolution’, beginning with the fall of fascist and military dictatorships in southern Europe, South America and East Asia in the 1970s, and continuing in the 1980s

in Jean-Luc Godard