This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.
This book explores, from a variety of critical perspectives, the playwright's place in Scotland and the place of Scotland in his work. The influence of Scotland on William Shakespeare's writing, and later on his reception, is set alongside the dramatic effects that Shakespeare's work had on the development of Scottish literature. The Shakespeare's work of Scottish literature stretches from the Globe to globalisation, and from Captain Jamy and King James to radical productions at the Citizens' Theatre in Glasgow. Shakespeare have strong Scottish connections by virtue of his theatre company's being brought under the sponsorship of the Scottish king James VI immediately after his accession to the English throne in 1603. Jonathan Goldberg and Alvin Kernan have traced the impact of royal patronage on Shakespeare's work after the Union, finding Scottish themes at play not just in Macbeth, but also in Cymbeline, King Lear, Hamlet, and in other plays. Then, the book outlines some of the issues and problems raised by Scotland and Scottish history for English readers in the last decade of Elizabeth's reign. Shakespeare wrote his English plays in Elizabeth's reign and his British plays after 1603, though Henry V, first performed in 1599, might be regarded as a proto-British play. Unlike Henry V, Shakespeare's most English play, where national identity is of the essence, in Macbeth, Scotland is a blot on the landscape. Shakespeare's political drama moves from a sense of England and Scotland as independent kingdoms into an alignment with the views of Unionist King James.
This book seeks to offer a rather wider frame of analysis than is typically adopted in accounts of the nature and significance of The Smiths. It focuses on the Catholic and broader religious dimensions of The Smiths. The book explores the theme of suicide in the songs of The Smiths. It also seeks to examine how the kitchen-sink dramas of the early 1960s influenced Morrissey's writing. The book proposes that beyond the literal references in his lyrics there lies a sensibility at the heart of these films akin to the one found in his poetic impulse. The book expands the argument with some concluding thoughts on how cinema has 'returned the favour' by employing The Smiths' songs in various ways. It examines the particular forms of national identity that are imagined in the work of The Smiths. The book ranges from class, sexuality, Catholicism, and Thatcherism to musical poetics and fandom. It then focuses on lyrics, interviews, the city of Manchester, cultural iconography, and the cult of Morrissey. The distinctive sense of Englishness that pervades the lyrics, interviews, and cover art of the band is located within a specific tradition of popular culture from which they have drawn and to which they have contributed a great deal. The book breaches the standard confines of music history, rock biography, and pop culture studies to give a sustained critical analysis of the band that is timely and illuminating.
This book offers a new way of looking at Irish foreign policy, linking its development with changes in Irish national identity. Many debates within contemporary international relations focus on the relative benefits of taking a traditional interest-based approach to the study of foreign policy as opposed to the more recently developed identity-based approach. This book takes the latter and, instead of looking at Irish foreign policy through the lens of individual, geo-strategic or political interests, is linked to deeper identity changes. As one Minister of Foreign Affairs put it; ‘Irish foreign policy is about much more than self-interest. The elaboration of our foreign policy is also a matter of self-definition—simply put, it is for many of us a statement of the kind of people that we are’. Using this approach, four grand narratives are identified which, it is argued, have served to shape the course of Irish foreign policy and which have, in turn, been impacted by the course of Ireland's international experience. The roots and significance of each of these narratives; Ireland as a European Republic, as a Global Citizen, as an Anglo-American State and as an Irish Nation are then outlined and their significance assessed. The shape of Irish foreign-policy-making structures is then drawn out and the usefulness of this book's approach to Irish foreign policy is then considered in three brief case studies: Ireland's European experience, its neutrality and Irish policy towards the 2003 Iraq War.
Popular dance in Britain fundamentally transformed in the early 1920s. This book explores the development, experience and cultural representation of popular dance in Britain during the first half of the twentieth century. The specific focus is on two distinct yet occasionally overlapping commercial producers: the dance profession and the dance hall industry. The strong foreign, and increasingly American, influences on dancing directly connected this cultural form with questions about the autonomy and identity of the British nation. The book uses dancing as a lens through which to better understand broader historical processes of popular cultural production and consumption, and national identity construction. The first part of the book focuses on the efforts of dancing's producers to construct a standardised style and experience for British dancing, and the response to those efforts by consumers. These interactions determined which dances would find success in Britain, and how and where they would be performed. The second part demonstrates how these interactions between dancing's producers and consumers constructed, circulated, embodied, but also commodified, ideologies of gender, class, race and nation. The dance profession transformed the steps and figures of foreign dances like the foxtrot and tango into what became known as the 'English style' of ballroom dancing. The dance hall industry launched a series of novelty dances, such as the Lambeth Walk, that were celebrated for their British origins and character, and marketed the wartime dance floor as a site of patriotism and resistance.
Friends and enemies: The Allies and neutral Ireland in the Second World War examines the personal friendships and embittered conflicts among British, American, and Irish national leaders, their Dublin-based foreign policy advisers, and an American journalist as those relationships warmed and cooled, shifting in response to their nations’ fortunes during the six years’ war. The dominant personalities of Winston Churchill, Franklin D. Roosevelt, and Eamon de Valera, marked by their distinctive prejudices and predilections, in combination with the culturally and historically specific British, American, and Irish masculine ideologies that prescribed their privileged and powerful roles, determined the ways that they each constructed politically useful national identities and war stories. Through their public addresses and in their private correspondence and recollections, they associated specific character traits, behaviors, allegiances, and affinities with themselves, their nations’ male citizens, and with their personal “friends” and national allies, as they distinguished themselves from their “enemies” in order to rally their compatriots to either support – or reject – the most consequential of all political projects: to go to war. Churchill’s, Roosevelt’s, and de Valera’s constructions of those identities and narratives, shared and reinforced by their advisers and propagandists, helped to shape the emotional, patriotic, and gendered experiences of the Second World War among their nations’ people, as well as their nations’ wartime policies.
Dominant visions have tended towards imagining Europe as an object - an entity of one sort or another. This book explores the different spaces of Europe/European Union (EU). The first part of the book presents research critically examining actor practices within familiar spaces of action - the European Parliament and the European Commission. It makes the case for the salience of research which distinguishes between spaces of 'frontstage' and 'backstage' politics and shows the interactions between the two. One cannot understand how EU gender mainstreaming policy really works unless one engages with the processes and actors involved. The second part presents research showing how, through their political work, a range of individuals and groups have sought to reconcile Europe with social representations of their industry or their nation to bring about change. It presents a case study of impact assessment of flatfish stocks in the North Sea, and contributes to the cross-fertilisation of Science and Technology Studies with a political sociology of the EU. The book shows how actors are pursuing regional interests, and the work they do in referencing Europe promotes agendas in the 'home' contexts of Scotland and canton Zurich. The final part of the book explores practices of EU government which either have been under-explored hitherto or are newly emerging. These are the knowledge work of a European consultant; measurement work to define and create a European education policy space; collective private action to give social meaning to sustainable Europe.
The volume encompasses seventeen chapters, each devoted to an individual actor
who represents a diverse aspect of post-war British cinematic stardom. The
approach is one of a cinephile academic and although the time frame ranges from
the 1940s to the 1980s, the focal point is the 1950s. It was in this decade that
the film industry faced increasing competition from television and the
involvement of Hollywood monies in UK-based pictures. By the end of that period,
the ‘star system’ maintained by the Rank Organisation and Associated British
Picture Corporation (ABPC) was being succeeded by independent productions using
Pinewood and Elstree Studios and censorship was being relaxed. Many actors took
the opportunity to escape, or even transcend, their previous casting limitations
or stereotyping. Of the subject matter, Jack Hawkins, John Mills, Kenneth
More are ‘senior leads’, Laurence Harvey and Stanley Baker are ‘younger leads’
and the ‘leading ladies’ section contains chapters on Sylvia Syms and Diana
Dors. ‘The comics’ details the work of Norman Wisdom, Terry-Thomas and Leslie
Phillips. The careers of Sidney James, James Robertson Justice, Margaret
Rutherford and Hattie Jacques are considered in terms of the art of the leading
character actor and the work concludes with tributes to Peter Finch and Peter
While most of the Germans who suffered expulsion during the First World War lived within British shores, the Royal Navy brought Germans from throughout the world to face incarceration in the their network of camp. This book offers a new interpretation of global migration from the early nineteenth until the early twentieth century. It examines the elite German migrants who progressed to India, especially missionaries, scholars and scientists, businessmen and travellers. The book investigates the reasons for the migration of Germans to India. An examination of the realities of German existence in India follows. It then examines the complex identities of the Germans in India in the century before the First World War. The role of the role of racism, orientalism and Christianity is discussed. The stereotypes that emerged from travelogues include: an admiration of Indian landscapes; contempt for Hinduism; criticism of the plight of women; and repulsion at cityscapes. The book moves to focus upon the transformation which took place as a result of this conflict, mirroring the plight of Germans in other parts of the world. The marginalisation which took place in 1920 closely mirrored the plight of the German communities throughout the British Empire. The unique aspect of the experience in India consisted of the birth of a national identity. Finally, the book places the experience of the Germans in India into four contexts: the global history of the nineteenth and early twentieth centuries; German history; history of the British Empire in India; and Indian history.
The 1641 rebellion is one of the seminal events in early modern Irish and British history. The 1641 'massacres', like the battles at the Boyne (1690) and Somme (1916), played a key role in creating and sustaining a collective Protestant/ British identity in Ulster, in much the same way that the subsequent Cromwellian conquest in the 1650s helped forge a new Irish Catholic national identity. This book illustrates the role that cartography and geography can play in understanding and contextualising the 1641 rising/rebellion. During the Irish wars of the 1590s, printed news on the continent about developments in Ireland emanated from the Roman press of Bernandino Beccari. Barcelona publications indicate a strong interest in Irish events at a time ironically when Irish regiments in the service of Spain were heavily involved in the attempted suppression of their revolt. The book also answers few questions with reference to the survivors of the sacks of the Dutch Revolt. The history of sectarian conflict in the French wars of religion has focused more on the targets of violence, animate and inanimate, than on its vocal manifestations. The Irish exiles in the Spanish Monarchy were extremely active in the years prior to 1641. Connecting the Hispanic dimension of events in 1641 and the birth of an Irish 'Black Legend' comparable to the classical 'Spanish Black Legend' required the reflection on the meaning of violence.