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Veep, Homeland, and Scandal
Elisabeth Bronfen

war with France. 26 In Shakespeare’s dramatic re-imagination of the Wars of the Roses, Suffolk decides to woo her for his king, hoping to gain political influence through her. Even before she arrives in England, Margaret, however, has a staunch adversary in Gloucester. As the king’s uncle, he opposes a marriage with this impoverished Princess of Anjou, because, despite her beauty and eloquence, she brings neither wealth nor any advantageous alliance to the French royal family as dowry. Given, furthermore, that her unfamiliarity with the English court causes her

in Serial Shakespeare
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A series of first female presidents from Commander in Chief to House of Cards
Elisabeth Bronfen

King Lear’s refusal to abdicate his power along with his throne is a civil war that ultimately wipes out his entire lineage. The early revenge tragedy, Titus Andronicus , explores yet another variation of the violence that royal family bonds can inspire. The warrior queen of the Goths, Tamora, is brought to Rome as the captive of the victorious general, Titus, who has led a ten-year campaign against her. When, despite her maternal plea, he refuses to show mercy and instead sacrifices her eldest son, Tamora’s desire for retribution is born. Once marriage to the new

in Serial Shakespeare
Mia-Marie Hammarlin

after. They could have been after the royal family. When Sven Otto Littorin told me about his experiences of escape, the mood in the room was characterised by seriousness. Grimly, he described in detail how reporters from Aftonbladet pursued the getaway car that he and his then partner were travelling in. The first two weeks were pure escape, he said. They switched cars at night, dumped telephones in litter bins, and sought temporary refuge in the forest in a holiday home belonging to a friend’s in-laws. He described it as ‘entering a second childhood’ during such

in Exposed
Martin O’Shaughnessy

resolutely French names and clearly demonstrating their respectability (Grindon 1994 : 43–4). It refuses to portray the aristocrats or the royal family as innocent victims, instead showing them to be weak or willing accomplices to oppression and foreign invasion. More generally, the Revolution, so often associated with savage violence, is depicted as fraternal and peace-loving. Such a representation is inevitably selective. Isolating the

in Jean Renoir
Looks and Smiles, Unfinished Business, Fun City, Threads
David Forrest and Sue Vice

how George Purse in The Gamekeeper is represented takes enhanced form in Lucy’s case, in a way that some reviewers experienced as the novel’s ‘token’ effort to represent every point of view,52 but which is related by complex narrative means for polyphonic ends. Even if the ‘sympathy’ of the implied author with Lucy is apparent throughout,53 the novel presents different responses to its protagonist’s circumstances. In a sustained version of the dramatised debates about land in The Gamekeeper, the royal family in The Price of Coal or disarmament in Threads, Phil

in Barry Hines
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Representing ‘managed dissensus’
Stephen Lacey

who the ‘real’ spongers are, making it clear that in its view the answer is the Royal Family, not people like Pauline. This is obvious from the beginning. The pre-credit sequence shows Pauline chaotically negotiating with council bailiffs, who have come to assess her meagre furniture in lieu of rent, whilst calming her distressed family. This is juxtaposed with the credit sequence, where, against the background of a giant Union Jack, council workers are attempting to erect two larger-than-life portraits of the Queen and Prince Philip, inadvertently placing the Queen

in Tony Garnett
Wildlife documentaries on television
Thomas Austin

’ resource based at 07chap six.p65 129 6/28/2007, 10:40 AM 130 Watching the world the University of Sussex. In addition to housing material gathered during the 1930s and 1940s, the archive administers a self-selected sample of 500 current ‘correspondents’, who are invited to write in response to a regular series of ‘directives’ on their everyday lives and opinions, covering topics as diverse as gardening, the royal family and UFOs, as well as, occasionally, media use. In summer 2005 I arranged for a directive to be sent out, asking for correspondents to write about

in Watching the world
Darrell M. Newton

too difficult to keep reorienting themselves if a producer cut from camera to camera too often, or too quickly.7 With this longer treatment of events, television viewers could better enjoy stories about the Royal Family, visiting dignitaries and movie stars or any other stories deemed significant by the production staff of the BBC film unit. This included the Victory Parade in June 1946 and the royal wedding of Princess Elizabeth and the Duke of Edinburgh in November of 1947. Subsequently the BBC transmitted the first edition of a biweekly 15-minute programme called

in Paving the empire road
Comedies of class, culture and community
Nigel Mather

with “reality” is … untenable’. 20 Shipyard Sally , which concluded Gracie Fields’ career in British cinema, also dealt with the subject of unemployment in the form of a topical musical-comedy. The film begins with newsreel footage of a ship being launched in Clydebank on a rainy day, watched over by members of the Royal Family and enthusiastic crowds. The narrative then takes up the fictional story of

in Tears of laughter
Lynn Anthony Higgins

brilliantly evocative. It calls to mind Lady Macbeth desperately attempting to wash her hands of her crime. It also recalls the Biblical injunction: ‘if thy hand offend thee, cut it off’ (Mark 9: 43). It suggests the metaphorical castration implicit in the Regent’s impotence to intervene in Dubois’s deadly machinations. Finally, it prefigures the guillotine that will amputate more vital appendages from future members of the royal family. The final crisis also constitutes a hysterical moment in the filmic text, along the lines

in Bertrand Tavernier