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Stephanie Dennison and Lisa Shaw

, neighbourliness and a community lifestyle typical of rural regions or the poor suburbs of the big cities of the South. This tradition continued in the films of Amácio Mazzaropi in particular in the 1960s and 1970s. In popular film the precarious and fragmented nature of everyday life for the poor is mirrored in the constant interplay between fantasy and reality, carnival interludes and the daily grind. The unlikely heroes of popular film have

in Popular cinema in Brazil, 1930–2001
Rescaling migration, citizenship, and rights
Jonathan Darling and Harald Bauder

and techniques to new sites, from policing and legislation within the nation-state (Coleman, 2012 ; Walters, 2006 ), to the growth of processing and detention in extraterritorial locations (Collyer and King, 2015 ), has led growing critical attention to ask how such spaces of migration can be understood in their own terms. The chapters in this book examine ways to advance such work: they ask how migration is experienced, politicised, and policed when framed as a concern for cities, communities, and everyday life, rather than purely for the policies, rhetoric

in Sanctuary cities and urban struggles
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Richard Farmer

– or even outline in any detail what it is that they feel – it does offer some insight into how feelings affect actions. In the case of Britain during the Second World War, such actions have often been understood in terms of the direct contribution that an individual might make to the war effort – in terms of factory output, for example, or in the hours spent on Home Guard duty. But surely we should also consider the hundreds of prosaic and mundane activities that constitute everyday life. To attempt to maintain personal routine in the face of the disquieting

in Cinemas and cinemagoing in wartime Britain, 1939–45
Tijana Vujošević

“etheroneph” powered by “antimatter” and observes daily life on the Red Planet. He sees factories in which workers indulge in fulfilling labour and are free to change professions; fantastic glass-clad domestic architecture; progressive ways of childrearing; free love; and art museums transformed from sites for collection and accumulation into places for study. By experiencing everyday life in a Martian society, Leonid gets a picture of what his political struggle on Earth will bring about. In one scene in the novel, Leonid admires the beauty of vegetation on Mars, which is

in Modernism and the making of the Soviet New Man
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The future of Regie?
Peter M. Boenisch

such critical examination and for such thinking, within the ‘aesthetic’ realm of theatre that insists on its autonomy from the demands and imperatives of everyday life and its underlying hegemonic ideologies and discourses. From this autonomous examination through play, Regie propels theatre, the art of cultural traditions and memories of the past, back into a present and forward into the future. Around Hegel’s time, it was a present dominated by the empirical regime of natural sciences and the formal reasoning of logic; our present is governed by the pervasive

in Directing scenes and senses
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Caroline Bassett

up within itself, matter. They are a part of what gets symbolized, and how. To explore changing narrative formations developing in relation to new media might thus offer insights into the cultural significance of contemporary processes of automation transforming the temporal and spatial dimensions of everyday life. Narrative doubts What previously was a representational culture of narrative, discourse and the image which the reader, viewer or audience encountered in a dualistic relation, now becomes a technological culture. Culture is comprised no longer primarily

in The arc and the machine
Steven Peacock

the other. Rather than presenting a fantastical world of high living to match the riches of its soaring melodies, the film keeps its feet firmly on the ground. It tells tales of humdrum experience, as workaday (at base level) as those of the British New Wave. As the title of Jonathan Rosenbaum’s article on the film declares, The Umbrellas of Cherbourg sings ‘Songs in the Key of Everyday Life’. 72 Geneviève (Catherine

in Colour
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Richard Kilborn

saga will bring (Junge, 2004: 259, 274, 308). Likewise with Seven Up, most observers are also agreed that much of the series’ enduring appeal lies in the way it succeeds in combining the attributes of a compelling social history and the more homespun qualities of a soap-like drama of everyday life. As Jonathan Freedland has written of 49 Up: [The film] is a full, revealing social history. And yet that is not the source of its power. That, and its intense poignancy, comes instead from the universal human story these lives tell. To see people ageing Concluding remarks

in Taking the long view
Philip M. Taylor

in Russia in 1917 and which raged intermittently for the next 70 years, sometimes as open war, sometimes postponed, and mostly, since 1945, as Cold War. It was essentially a struggle between two diametrically opposed ideologies in which propaganda has always played a central role. The Bolshevik Revolution may well have taken Russia out of the First World War, but it also led to a new and significant development in the conduct of international affairs. After 1917, propaganda became a fact of everyday life. For Lenin and his successors, who owed so much to the

in Munitions of the Mind
Post-connoisseurial dystopia and the profusion of things
Sharon Macdonald and Jennie Morgan

storeroom. They do, however, draw upon actual discussions that we have had, and speak in ways that we hope are true to the comments and feelings expressed by curators who 2 30 Europe we have met during our research fieldwork, and whom we quote directly in the rest of this chapter.1 That research field is museums, primarily those within the UK that have a remit to collect recent and/or contemporary everyday life. Our focus here is on what for many curators working in this context is a major challenge, and one that for some at least makes them feel that the role of

in Curatopia