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Arjun Claire

. Solidarity provides a sound moral framework to bridge reason and emotion. It also addresses the flaws of témoignage, which has fostered a humanitarian-centric vision of change and a de-politicised humanity, foregrounding the physical needs of human beings, and casting social, economic, emotional and spiritual needs as matters outside the humanitarian realm. The humanitarian enterprise is still widely seen as a patronising undertaking, mirroring deep

Journal of Humanitarian Affairs
Essays on the Jodie Whittaker era

This book explores a new cultural moment in the history of the BBC TV series, Doctor Who: the casting of a female lead. Following the reveal that Jodie Whittaker would be the thirteenth Doctor, the series has been caught up in media and fan controversies – has it become ‘too political’? Has showrunner Chris Chibnall tampered disastrously with long-running continuity? And has the regendered thirteenth Doctor been represented differently from her predecessors? Analysing Whittaker’s era – up to and including Doctor Who’s responses to 2020’s first lockdown – this edited collection addresses how the show has been repositioned as a self-consciously inclusive brand. Featuring brand-new interview material with those working on-screen (series regular Mandip Gill and guest star Julie Hesmondhalgh) and those operating behind the scenes in crucial roles (Segun Akinola, composer of the current theme and incidental music), Doctor Who – New Dawn focuses on how the thirteenth Doctor’s era of spectacular TV has been created, and how it has diversified representations of queerness, race, and family. Moving beyond the television show itself, chapters also address fan responses to the thirteenth Doctor via memes, cosplay, and non-Anglophone translation. Finally, this collection looks at how the new ‘moment’ of Doctor Who has moved into gendered realms of merchandising, the commercial ‘experience economy’, and a paratextual neo-gift economy of Covid-19 lockdown reactions that were created by previous showrunners alongside Chris Chibnall. A vigorous new dawn for Doctor Who calls for rigorous new analysis – and the thirteen chapters gathered together here all respond adventurously to the call.

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Addressing intersectionality in the casting and performance of Chris Chibnall / Jodie Whittaker era Doctor Who
Christopher Hogg

undoubtedly been casting, initially focusing on Whittaker then subsequently on the choice of Mandip Gill and Tosin Cole as the Doctor’s new companions, and more recently during the run of series 12 on the reveal of Sacha Dhawan as the Master and Jo Martin as a hitherto unknown black female incarnation of the Doctor. As Lorna Jowett’s ( 2014 ) work on Doctor Who and gender emphasizes, the show’s casting has been a long-standing point of critical attention and contention, in both popular and scholarly contexts. However, the

in Doctor Who – New Dawn
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Brian McFarlane

Incorporated Television Company (ITC). Perhaps the most significant name among these is that of Carlo Ponti, who was married to Sophia Loren. If you want to make a touching drama about love and renunciation in a quiet English setting, you’d perhaps think twice about casting as the leads an international sex symbol and a noted lothario: ‘gloriously miscast’ as they were described in the obituary of Rosemary Leach who had a supporting role in the telefilm. 1 Intertextuality matters when watching a film: we can’t put aside all the information we bring

in The never-ending Brief Encounter
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A play that ‘approves the common liar’
Carol Chillington Rutter

of the play, what I'm calling ‘wrong-footing’, to instance more of how this play operates as a theatre machine. Antony and Cleopatra gives every director, designer and company of actors who tackle it the same set of challenges to negotiate (and opportunities to explore). In the chapters that follow, we will see them working these challenges out, making decisions that make their production's meanings. Here, I want to anticipate their struggles under four headings: dramatic structure; scenic writing; characters and casting; and six deaths

in Antony and Cleopatra
Peter Hall, Olivier Theatre, National Theatre, 1987
Carol Chillington Rutter

. Clearly, if the return to Veronese epitomised how Hall imagined Shakespeare's characters, casting Judi Dench and Anthony Hopkins as his principals signalled another attempt to get back to basics. Hall hadn't directed Dench in a Shakespeare role since Titania in A Midsummer Night's Dream in 1962 when she was still in her twenties. When he left the RSC, she stayed behind, maturing her craft under Hall's ‘heirs’, principally Trevor Nunn, and giving celebrated performances in The Winter's Tale (1969), The Merchant of Venice and The Duchess of Malfi (1971), Much Ado

in Antony and Cleopatra
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Sharon Lubkemann Allen

EccentriCities Introduction Introduction Every work of genius slants the rational plane, or so claim twentiethcentury writers as disparate in style and distant in setting as Mário de Andrade and Vladimir Nabokov, re-casting creative consciousness in their respectively ‘hallucinated’ cities of São Paulo and St. Petersburg.1 While these writers eccentrically reconfigure and relocate creative consciousness in citytexts marked by peculiarly modern tempos and marginocentric topographies, they also recuperate an ancient association between art, alienation and

in EccentriCities
Open Access (free)
Melanie Williams

straightforward statement of social protest on the part of its makers, which is partly due to the casting of Diana Dors, a notorious and flamboyant British film personality of the 1950s, in the role of Mary Hilton. Hailed as the only sex symbol Britain has produced since Lady Godiva, Diana Dors was a precocious teenager who had made her first film appearance at the age of 15 as a spiv’s mistress in The Shop at

in British cinema of the 1950s
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Modernity and the cinematic past
Peter Buse, Núria Triana Toribio, and Andy Willis

4795 CINEMA - PT/gk.qxd 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 12/1/07 10:04 Page 119 5 La comunidad (2000): modernity and the cinematic past 4795 CINEMA - PT/gk.qxd 12/1/07 120 10:04 Page 120 The cinema of Álex de la Iglesia Goyas, casting, acting If it is a reliable law of European film production that commercial and critical success rarely go hand in hand, then La comunidad (2000) provides an interesting case study. De la Iglesia’s fifth feature film was seen by 1

in The cinema of Álex de la Iglesia
Open Access (free)
Kerry Kidd

which leaves them with nowhere else to go. On the other hand, in both form and theme the film is consciously melodramatic, casting Helen Allistair as the villain of the piece whose abuse and exploitation are eventually appropriately punished. As a consequence the film clearly and honestly depicts contemporary abuses, but seems unsure whether to blame respectable social prejudice, more simplistic

in British cinema of the 1950s