Giovanna Maina, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe
This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.
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
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
Jokes, racism and Black and Asian voices in British comedy television
Framing The Fosters: jokes, racism and Black
and Asian voices in British comedy television
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
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.
, melodrama, surrealism and a range of pre-colonial/indigenous and classical Asian theatre traditions).
Play also seems to map productively onto the shift from high modernism toward late modernism (Carville, 2011 ; Weller, 2015 ), which somehow fails to exclude its relevance at the emergence of postmodern dramaturgy, in relation to the discourse of ‘theatre of images’ (Marranca, 1977 ). It has even been enrolled in the expansive category of ‘postdramatic’ theatre (Lehmann, 2006 , 26). In
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
‘Tears of laughter': comedy-drama in 1990s British cinema
. 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
Queer phenomenology, and cultural and religious commodifi cation in Hanif
Kureishi’s My Beautiful Laundrette (1985) and The Buddha of
Alberto Fernández Carbajal
film directed by the British director Stephen Frears. The film’s international box-office success took its own makers by surprise. Set in economically challenged and racially restless London during the peak of the Thatcher era, with a young British Asian man as its main protagonist, the film came out only a few years before the publication of Salman Rushdie’s The Satanic Verses and all its attendant controversies. These polemical events, now commonly known as the ‘Rushdie Affair’, have constituted the foundational moment of British Muslim identity as a political
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