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Chaplin (1992) and Grey Owl (1999)
Sally Dux

that his true English origins were only discovered by a journalist from the North Bay Nuggett in 1936 when Grey Owl was at the height of his popularity. Out of respect for Grey Owl’s conservation work, his fraudulent existence remained a secret until the day after his death in April 1938, when the news broke and resulted in astonishing disbelief. His deception even tricked the British Establishment. At the request of Princess Elizabeth, Grey Owl was invited to give a private performance to the Royal Family in 1937. The Court Circular declared that it was in the

in Richard Attenborough
Breaking through the barriers of filmmaking
Deborah Shaw

accompany the faun’s appearances to Ofelia, even when these take place in interiors, perhaps signalling his affinity with the natural outdoor world. Earthy brown tones are used for most of the interior shots in the home, the granary, where the food is stored, the cave inhabited by the resistance fighters, and the false paradise of the Pale Man’s underground banquet room. Golden colours signal the world of magic and fantasy, and are reserved for the magical world of the royal family of the underworld. They are, for instance, used in the sequence where Ofelia tells her baby

in The three amigos
Steven Peacock

of course there are other explanations. One is that the interest is just part of a bigger wave of recognition and popularity of things Scandinavian in the world, such as Ikea, Volvo, H&M, the Swedish and Norwegian Royal families, the music of Abba, the Danish films of Susanne Bier and Lars von Trier etc, which has been growing and growing in the last twenty years or so. There is a curiosity about these countries and their culture, and more and more foreign visitors come to Sweden each year, according to statistics I just heard. Having said that, I also think that

in Swedish crime fiction
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Anna Ariadne Knight

through mild ridicule, by giving poor reviews or by making unfavourable comparisons to British films. By ‘controlling’ the means of public expression, journalists also exerted their influence on ‘public existence’ or rather, could determine which American actors or performers became stars in Britain. The emergence of the teenage consumer by the mid-1950s required subtle renegotiation of this journalistic ‘power’. Bill Haley, for example, was subjected to unflattering commentary until rock ’n’ roll became popular with the royal family. Similarly, in the extraordinary

in Screening the Hollywood rebels in 1950s Britain
Bill Haley and the rock ’n’ roll cinema riots
Anna Ariadne Knight

’n’ roll became associated with members of the royal family and the ‘smart set’; and the press were less inclined to resort to earlier scaremongering rhetoric to warn of its dangerous influences. When Queen Elizabeth asked for a print of Rock Around the Clock to replace The Caine Mutiny (Edward Dmytryk, 1954) during her annual summer stay at Balmoral it made headlines.100 Haley responded to this uncustomary royal interest, as did the British press, when he ‘cabled’ the Queen directly to offer to play for her in person.101 Further kudos was conferred on Haley when

in Screening the Hollywood rebels in 1950s Britain
Genre and the shock of over-stimulation
Andrew Asibong

’âne (1970), its musically articulated dissuasion from incest underlines with obscene levity the horror lurking beneath the royal family’s model for social, romantic and familial cohesion in this particular universe. Demy often uses musical sequences to point, then, to an ironic disjunction within the social body performing in these sequences. Elsewhere, Demy oscillates wildly between musical set pieces that seem to confirm social

in François Ozon
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Guy Austin

( The People of France , 1936). A joint production financed by French and Italian television companies, La Nuit de Varennes was attacked in Cahiers for being merely a sumptuous exercise in televisual history (Daney 1982 ). Set in June 1791, it concerns the attempted escape from France of Louis XVI and the royal family. In Scola’s fantastical version of history, they are pursued across country by a coach containing not

in Contemporary French cinema
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Scottish cinema in an age of devolved public service broadcasting
Christopher Meir

the central figures in Victoria’s court to a minimum. Dulcie Ashdown devotes three pages out of 200 of her biography of the monarch to giving an account of Brown (1975, –132); Lytton Strachey provides his version of the life pp. 129  of Brown in three pages of his 300-hundred page biography of Victoria (1921, pp. 271–274). Other attempts to bring the story to the screen, including one that would have had Sean Connery playing Brown opposite Julie Christie as Victoria, were reportedly scuppered by the royal family as, out of fear of bringing scandal upon Victoria

in Scottish cinema
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Stephanie Dennison and Lisa Shaw

Portuguese royal family, who arrived in Rio de Janeiro in 1808, fleeing from Napoleon’s armies, and set up court there, thus provoking the political and cultural changes which would eventually bring about Brazil’s independence in 1822. 7 Two other trends that characterise Brazilian cinema since the retomada, which are worthy of further detailed study, given their search for greater dialogue with the public and the box

in Popular cinema in Brazil, 1930–2001
James Zborowski

, conducted ‘chat’ with famous persons in their homes (including a recently married John F. Kennedy); (3) in 1960, the first ever televised presidential debates took place in the USA, between John F. Kennedy and Richard Nixon. If, as Benjamin supposed, photography, film and other media of ‘mechanical reproduction’ had the democratic effect of destroying the auratic distance of the artwork, then television had the equivalent effect for public persons. Members of royal families became visible during sacred rituals (albeit with strict controls over what could be shown and from

in Classical Hollywood cinema