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The ‘post-Hollywood’ Besson
Rosanna Maule

’ specificity. From this perspective, the studio’s opening of the Asian market (sanctioned in April 2002 through the creation of Europa Corp. Japan, which linked Europa with the Japanese film distribution company Asmik-Ace) offers a way out of the inextricable set of conflicting interests that bind European cinema (and particularly France) to Hollywood, by creating new forms of partnership within the international

in The films of Luc Besson
Colonising Europe in Bram Stoker‘s The Lady of the Shroud
William Hughes

Postcolonial criticism is preoccupied for the most part with the implications and the cultural consequences of European interference in a vaguely delineated territory which could best be termed `the East‘. This statement, which might justifiably be regarded as being simplistic, provocative or even mischievous, must however be acknowledged as having some currency as a criticism of an occluded though still discernible impasse within an otherwise vibrant and progressive critical discourse. The postcolonial debate is, to borrow a phrase from Gerry Smyth, both characterised and inhibited by a `violent, dualistic logic‘ which perpetuates an ancient, exclusive dichotomy between the West and its singular Other. In practical terms, this enforces a critical discourse which opposes the cultural and textual power of the West through the textuality of Africa, Asia and the Far East rather than and at the expense of the equally colonised terrains of the Americas and Australasia. This is not to say that critical writings on these latter theatres of Empire do not exist, but rather to suggest that they are somehow less valued in a critical discourse which at times appears,to be confused by the potentially more complex diametrics implied in the existence of a North and a South.

Gothic Studies
Abstract only
Anamik Saha

commitment to finding, or rather, creating audiences for this type of programming is a much more crucial moment in the cultural process than receiving the commission to make the programme in the first place. In the relatively small amount of research literature on scheduling the process is stressed as an ‘art form’ or, as Jonathan Ellis puts it, the last creative act. But I want to go further and emphasise the ideological role of scheduling – specifically in relation to the representation of racialised minorities. Using a case study of British South Asian5 television

in Adjusting the contrast
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Jokes, racism and Black and Asian voices in British comedy television
Gavin Schaffer

8 Framing The Fosters: jokes, racism and Black and Asian voices in British comedy television Gavin Schaffer This chapter interrogates the relationship among television comedy, power and racial politics in post-war Britain. In a period where Black and Asian Britons were forced to negotiate racism as a day-to-day reality, I want to question the role played by television comedy in reflecting and shaping British multicultural society.1 This chapter probes Black and Asian agency in comedy production, questioning who the joke makers were, and what impact this had on

in Adjusting the contrast
British television and constructs of race

Adjusting the contrast National and cultural identity, ethnicity and difference have always been major themes within the national psyche. People are witnessing the rise and visibility of far-right politics and counter-movements in the UK and USA. Simultaneously, there is an urgent need to defend the role of public service media. This book emerges at a time when these shifts and conjunctures that impact on and shape how 'race' and racial difference are perceived. They are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB), specifically the BBC and Channel 4. The book explores a range of texts and practices that address the ongoing phenomenon of race and its relationship to television. Policies and the management of race; transnationalism and racial diversity; historical questions of representation; the myth of a multicultural England are also explored. It interrogates three television primarily created by women, written by women, feature women in most of the lead roles, and forcefully reassert the place of women in British history. The book contributes to the range of debates around television drama and black representation, examining BBC's Shoot the Messenger and Top Boy. Finally, it explores some of the history that led to the belated breakthrough of Black and Asian British comedy. The book also looks at the production of jokes about race and colour prior to the 1980s and 1990s, and questioning what these jokes tell us about British multiculturalism in this period.

Darrell M. Newton

create opportunities for Black and Asian people to participate in television production, a series of published reports criticised the organisation and others not only for negative representations of ethnic minorities, but also for an absence of them in most popular programming. In 1991, Channel 4 in conjunction with the Centre for Mass Communication Research at the University of Leicester held a conference on minorities in television. The conference resulted in a document written by Professor James Halloran and others, Ethnic Minorities and Television: A Study of Use

in Paving the empire road
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‘Tears of laughter': comedy-drama in 1990s British cinema
Nigel Mather

. The chapter concludes with case studies of Brassed Off (Mark Herman, 1996) and The Full Monty (Peter Cattaneo, 1997), two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. Chapter 2 discusses a number of contemporary British films focusing upon the experiences of British-Asian and African

in Tears of laughter
Nicole M. Jackson

saw me. I had to climb out of the box.’1 Elba challenges his audience to support the diversification of British television by providing roles for Black, Asian and minority ethnic (BAME) actors and supporting programmes that better reflected the various and complex realities of British life. However, Elba’s own show (Luther), for all it attempts, does not rise to the standard he sets. BBC1’s detective show Luther, which is often lauded for its groundbreaking cinematography, Elba’s acting and, in some quarters, its healthy representation of race, is just as flawed as

in Adjusting the contrast
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Comedy-drama in 1990s British cinema
Author: Nigel Mather

This book explores the interactions of comedy and drama within a group of significant and influential films released during the decade of the 1990s. It examines a group of British films from this period which engage with economic and social issues in unusual and compelling ways. Brassed Off and The Full Monty are two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. The book then discusses a number of contemporary British films focusing upon the experiences of British-Asian and African-Caribbean characters and their efforts to feel 'at home' in Western and British society. It features an extensive analysis of East is East, a comedy-drama about the cultural and ideological tensions surfacing between members of a British-Asian family living in Salford, circa 1971. Next, the book includes case studies of Four Weddings and a Funeral, Notting Hill, and Love Actually. It investigates the ways in which humour is deployed for dramatic and emotional effect in the context of scenarios dealing with such seemingly non-comic subjects as mass unemployment, failed or uneasy relationships, bitter family disputes, or instances of racial tension and conflict in British society. The book demonstrates that the interaction of comic and dramatic modes of narration within the films discussed proved to be a dynamic creative mechanism in 1990s British cinema, facilitating and enabling the construction of innovative and genuinely exploratory narratives about characters who are striving to realise particular aspirations and hopes within a complex culture.

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Deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/ Who’ll Stop the Rain (1978)
Colin Gardner

’s ambitious follow-up to Toback’s more intimate character study, expands The Gambler ’s mutual corruption between ‘internal’ and ‘external’ milieux to the broader historical and psychological trauma of the Vietnam War and its counter-cultural corollary, the CIA-controlled South-East Asian heroin trade, which flooded American inner cities with addictive drugs throughout the 1960s and 1970s. Based on the

in Karel Reisz