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sadistic pleasure (Lury, 1995: 126). But in the 1950s, this was shaped by the experience of witnessing the translation (or transformation) of the genre across cultural practices and media forms. “Keep your face up a bit – we get a better camera shot”: performing for television Reports of the thousands of people queuing to appear on quiz and game shows suggest an immediate recognition of television as a “special space”, a “higher” order of reality which sits at the centre of social life (Couldry, 2000). At the same time, as Nick Couldry has explored, it is M1380 - HOLMES
. But it did not make any overt attempt to tackle contemporary or social issues on a regular basis. In society at large, however, there was a recognition that not all families were as happy and cohesive as the Groves (Sydney-Smith, 2002: 48). Claims about the disintegration of family life took on many meanings in the 1950s, covering juvenile delinquency, working mothers, divorce and racial tension. On a broader scale, the war had opened up cracks in family life, and the question in the following period was about how to repair such wounds (Wilson, 1980). This picture
together his promos, packaged as short films rather than ‘merely’ as pop videos (as The Work of Director Chris Cunningham). Indeed, these releases mark a clear recognition of the art of some contemporary pop promos. U2’s succession of pop promos demonstrates how far some mainstream rock groups have endeavoured to connect with more esoteric filmmaking (and other) practices. In addition to Godley, a succession of highly interesting filmmakers have made promos for U2 and have stayed on the cuttingedge of audio-visual culture. These include Wim Wenders, Anton Corbijn, Jake
? Just like the village at the centre of La Ligne de démarcation (Claude Chabrol, 1966), the community depicted in Belle et Sébastien consists of resistants who do not hesitate to defy the occupier's authority by smuggling Jewish escapees to the Swiss border. According to Loison ( 2014 ), ‘Vanier veut rendre hommage aux gens de la montagne, dont on parle peu dans l’histoire de la Résistance et qui ont joué un rôle très important’ (Vanier wished to pay tribute to those from the mountains, who, despite playing an important role, have received little recognition in
transformation or obliteration of many of these sites since the film was made – placing them indeed beyond recognition and transforming Kaurismäki’s film into an unwitting historical document of the traces, places (and potentially memories) lost in the process of accelerating redevelopment and gentrification in London as an advanced-capitalist ‘global city’. Where the once-empty docks are now ‘Docklands’, Tower House and the Durward Street school are now ‘luxury apartments’, marketed in terms which erase their history. Moreover, the
recognition for his work as a photographer with projects such as Gun Nation (2000) and Love Me (2009). The Street develops concerns already manifest in the series Disappearing Britain (which includes portraits of shipbuilders, Cornish fishermen, boxers and foxhunters) and Hackney – A Tale of Two Cities . The Hackney series, which was published as a successful book, Portrait of Hackney (2014), and is described as ongoing, ‘reflects on the extraordinary contemporary social situation in the borough, where fashionable young
technically easier to play (though even in Vienna there were sometimes complaints about the difficulty of Beethoven's music). By 1819, when Thomson was still having great difficulty in selling Beethoven's folksong settings and sets of variations, and losing interest in obtaining any more, Scotland was at last beginning to show a receptiveness to Beethoven's major works, when several of them were performed in Edinburgh. Much further progress has been made in the two hundred years since then; but Beethoven's folksong settings have still not achieved the recognition they
drawing upon Meir Sternberg), and suggest that The Wire 's degree of narrational communicativeness perhaps appears lower than it is because of another feature of the series correctly identified by Lavik: its stylistic self-effacingness and sobriety, which Bordwell would characterise as a low degree of ‘self-consciousness’ – this being a measure of the ‘extent [to which] the narration display[s] a recognition that it is addressing an audience’ ( 1985 : 58). A second reason to reject the idea that ‘redundancy’ straightforwardly reduces complexity
recognition and revulsion as the art and influence of American film gathered pace over the years. Then in 2016 at the Sundance Film Festival, Fox Searchlight Pictures paid a festival record $17.5 million to purchase the rights to director Nate Parker’s retelling of Nat Turner’s slave rebellion in Virginia during August 1831. Parker titled his film, The Birth of a Nation , a self-conscious choice
and objectivity. Typical of neo-noir as a whole, British neo-noirs are highly intertextual and allusive, both thematically and visually. They have a degree of visibility and recognition – even if they are often reviewed dismissively – because they are produced by filmmakers conscious of the ‘tradition’ of film noir. However, although they share many of the characteristics of the earlier film noirs described by Robert Murphy