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Sylvie Magerstädt

is put in front of him. He is eating alone, surrounded by the court, which is separated into various groups of people – each group with their own specific and strange uniform outfit. These groups, including the royal family, are all withdrawn to the sides and corners of the room watching Odysseus while he eats. We see their faces in close-up while they are watching and a strange, esoteric music plays in the background. The scene here combines the austere, prehistoric settings mentioned above with science fiction-style costumes. In general, costumes in The Odyssey

in TV antiquity
Sylvie Magerstädt

previous adaptations of the same story, but also in relation to earlier television shows set in antiquity and their focus on royal families. Besides Chloe, this series offers a much broader focus on minor characters of various classes such as prostitutes, slaves, freemen, merchants, craftsmen, Roman patricians and foreign nobles. This variety of perspectives will be crucial for more recent shows like Rome. In addition, Chloe’s character also foreshadows the later portrayal of strong, but not morally perfect, female characters that manage to develop a more complex picture

in TV antiquity
Rowland Wymer

himself speaking: I’m an individual. I’ve always appreciated myself as such. I don’t want to particularly fit into any community other than my own self-made image. I am English. I am probably the absolute English person … I am myself, an English individual. One who does not need a royal family. 30

in Derek Jarman
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Karel Reisz, ‘The last great man in England’
Colin Gardner

good old days of the revolutionary Old Left. ‘Your dad used to love comin’ ’ere’, she recalls. ‘You know, ’e wanted to shoot the royal family, abolish marriage, and put everybody who’d been to public school in a chain gang?’ She leans back, sighs wistfully, and adds the kicker: ‘Yes, he was an idealist your dad was’. Then, as a solo trumpet plaintively picks out the refrain of ‘The Red Flag’, she asks

in Karel Reisz
The Bank Job (2008) and the British heist movie
James Chapman

or knowingly ironic in their revisiting of the era: the British society they portray is instead corrupt from the top down, and all the characters – whether the Royal Family (at risk of becoming embroiled in a sex scandal), the secret services (public schoolboys busy orchestrating bank robberies), the porn barons (paying off corrupt cops), the

in Crank it up
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

five hundredth birthday with a visit from a member of the royal family. The opening gives a taste of what will follow. Striking porters blockade the entry protesting against privileges afforded to private patients. They admit a stretcher case only because the invalid is near death. He duly expires because the casualty nurses insist on their tea break before attending the patient. A glittering tower stands above the other

in Lindsay Anderson
Homer B. Pettey

visual political clues – flag, insignia, political poster – to serve as an outright synecdoche, Costa-Gavras cleverly makes national identity the issue. There exist, however, a few cultural clues, scattered throughout the film, that point to Greece, such as some photos of the Greek royal family, an Olympic Airways name on the steps of jet airstairs, an Olympic Airways poster, and a few Greek beer bottles, but most audience members would have had to rely upon knowledge of Greek nationalism and the Colonels’ takeover to place Z as Greek. No mention in dialogue

in The films of Costa-Gavras
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Countercultural and alternative radical publishing in the decade before punk
Jess Baines, Tony Credland, and Mark Pawson

, syndicalists, santy clauses, kindergarten teachers, agitators, pyromaniacs, assistant assistants, scratchers and syphilitics, secret police, and other riff-raff. PROVO has something against capitalism, communism, fascism, bureaucracy, militarism, professionalism, dogmatism, and authoritarianism.13 In 1965, as a precursor to their magazine, Amsterdam Provo distributed single-sheet PROVOcations. These attacked the police, the royal family, criticised the traditional left, invited participation in ‘happenings’ and promoted direct action more generally.14 Through their

in Ripped, torn and cut
Jonathan Bolton

ambiguities surrounding trite definitions of loyalty and treachery, the long-term consequences of youthful political commitments and, most adroitly, the film warns against what Potter saw as the erosion of British cultural traditions under a late capitalist commodity culture. As the son of a West Country miner, Dennis Potter had been since his youth a committed socialist. “I was brought up,” he said, “to regard ‘Tory’ as the dirtiest of all oaths and the Royal Family as useless, miserable wasters.”  7

in The Blunt Affair
‘Performing’ la crisis
Maria M. Delgado

advisor whose ostentatious urbanity, inky hair and slick suit allude to the macho men of Reservoir Dogs (Quentin Tarantino, 1992). His name is perhaps a nod to the scandals in which the Spanish royal family have been embroiled since 2011 –​ infante is the name of a Spanish prince –​as well as a reference to the actor Pedro Infante (1917–​57), a key figure in the Golden Age of Mexican cinema who died in a plane crash en route to Mexico City. These are knowingly theatrical types, larger-​than-​life characters whose self-​conscious performance register –​associated with

in Performance and Spanish film