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Andrew Frayn

), pp. 15, 16. 19 Pierre Sorlin, ‘Cinema and the Memory of the Great War’, in Michael Paris (ed.), The First World War and Popular Cinema, 1914 to the Present (Edinburgh: Edinburgh University Press, 1999), p. 18. 20 Laura Marcus, ‘The Great War in Twentieth-Century Cinema’, in Vincent Sherry (ed.), The Cambridge Companion to the First World War (Cambridge: Cambridge University Press, 2005), p. 292. 21 See Nicholas Hiley, ‘The British Cinema Auditorium’, in Karel Dibbets and Bert Hogenkamp (eds), Film and the First World War (Amsterdam: Amsterdam University Press

in Writing disenchantment
Love in a postcolonial climate
Deborah Philips

According to McAleer: ‘Although … Romantic Fiction: The New Writers’ Guide urged authors “Never set a whole book in a country you have not visited …”, many successful Mills & Boon authors did just that’. Passion’s Fortune, p. 260. 10 E.H. Carter, Across the Seven Seas: The story of the British Commonwealth and empire (London: Thomas Nelson and Sons, 1954, pp. v–vi). 11 Official website of the British Monarchy, (accessed November 2009). 12 Christine Geraghty, British Cinema in the Fifties: Gender, genre and the ‘New Look’ (London: Routledge, 2000

in End of empire and the English novel since 1945
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

-Bakargiev and Mac Giolla Léith, Willie Doherty, p. 158. 23 Michael Walsh, ‘Thinking the Unthinkable: Coming to Terms with Northern Ireland in the 1980s and the 1990s’, in Justine Ashby and Andrew Higson (eds), British Cinema, Past and Present (London: Routledge, 2003), pp. 288–98: pp. 294–5. 24 Ibid., p. 296. 25 Brian McIlroy, Shooting to Kill: Filmmaking and the ‘Troubles’ in Northern Ireland (Richmond: Steveston Press, 2001), p. 128. 26 Richard Kirkland, ‘The Spectacle of Terrorism in Northern Irish Culture’. Critical Survey, 15:1 (2003), pp. 77–90: p. 77. 27 Andrea Grunert

in Irish literature since 1990
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Manchester and the devolution of British literary culture
Corinne Fowler
Lynne Pearce

image of the north existing at a cultural remove from multiracial Britain’ (Procter, 2006: 73). Citing a range of recent films, including The Full Monty (1997) and Billy Elliot (2000), Procter argues that British cinema represents northern England as ‘closeted from and innocent of . . . cultural difference’ as it is encountered in London (Procter, 2006: 73). It is precisely this imbalance that Postcolonial Manchester seeks to redress. Six years’ observation of the vibrant literary scene that flourishes in one of Britain’s largest conurbations has permitted many

in Postcolonial Manchester
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L’effroi et l’attirance of the wild-woman
Jacqueline Lazú

Essay on Abjection , trans. Leon S. Roudiez (New York: Columbia University Press, 1982), p. 92. 25 Kristeva, Powers of Horror , p. 70. 26 Kristeva, Powers of Horror , p. 135. 27 See: Stuart Hall, ‘New ethnicities’, Black Film/British Cinema , ICA Documents 7 (London: Institute of Contemporary Arts, 1988), pp. 27–31 and Francis Affergan, Exotisme et altérité: essai sur les fondements d’une critique de la anthropologie (Paris: Press Universitaire de France), 1987

in The last taboo
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Filminstitutet, 2016). Unlike other themes on the platform, such as ‘Football’ or ‘Radio’, the category ‘Queer’ does not yet have introductory text. On what grounds the films are selected thus remains unclear for the users. To compare, the BFI Player introduces its theme ‘LGBT Britain’ by explaining: British cinema boasts a long history of carefully coded queerness, but for much of the 20th century explicit depictions of gay life in drama or documentary were more or less taboo. Gay men were subject to vicious state-​ sanctioned persecution, while lesbians were socially

in The power of vulnerability
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Jonathan Bignell

camera an agent and not a witness. The performance was created as a single work and has been shown in cinema exhibition. It was shot on a sound-stage similar to that used in the production of feature films. Its actors, Alan Rickman, Kristen Scott Thomas and Juliet Stevenson, are also familiar from British cinema. Yet the use of a studio set, and the financing of the film by Channel 4 and the Irish national broadcaster RTE connect the drama to television institutions and exhibition. Although a wide-screen image was recorded, this is a frame

in Beckett on screen
Sexuality, trauma and history in Edna O’Brien and John McGahern
Michael G. Cronin

novels, in which she doesn’t include O’Brien’s trilogy, see Imelda Whelehan, The Feminist Bestseller (Basingstoke: Palgrave Macmillan, 2005), pp. 34–6. 19 Betty Freidan, The Feminine Mystique (New York: Norton, 2001), p. 2. 20 John Hill, Sex, Class and Realism: British cinema 1956–1963 (London: British Film Institute, 1986), pp. 5–34. 21 Edna O’Brien, The Country Girls (New York: Signet Books, 1965), pp. 7–46. 22 Ibid., p. 20. 23 Ibid., p. 7. 24 Ibid., p. 46. 25 Ibid., pp. 156–9. 26 Edna O’Brien, Girl with Green Eyes (London: Penguin, 1964), pp. 11–15. This novel was

in Impure thoughts
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End of empire and the English novel
Bill Schwarz

University Press, 2007), and her Imagining Home: Gender, ‘race’ and national identity, 1945–1964 (London: University College Press, 1998); Priya Jaikumar, Cinema at the End of Empire: A politics of transition in Britain and India (Durham: Duke University Press, 2006) and Christine Geraghty, British Cinema in the Fifties: Gender, genre and the ‘New Look’ (London: Routledge, 2000); Simon Faulkner and Anandi Ramamurthy (eds), Visual Culture and Decolonisation in Britain (Aldershot: Ashgate, 2006); and Mark Crinson (ed.), Modern Architecture and the End of Empire (Aldershot

in End of empire and the English novel since 1945
Beckett on Film
Jonathan Bignell

. ( 2004 ). The Continuing Story of Irish Television Drama: Tracking the Tiger . Dublin : Four Courts . Sierz , A. ( 2001 ). Beckett on Film . London : Channel 4 . Smith , J. ( 2014 ). ‘ Channel 4 and the red triangle: a case study in film curation and censorship on television ’, Journal of British Cinema and Television , 11 . 4 , 481

in Beckett’s afterlives