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Ian Scott and Henry Thompson

3 Money Introduction In Wall Street:  Money Never Sleeps, the banks have taken over Gekko’s job. I was shocked when I went back to this in 2010. In Wall Street, Gekko had been the outsider, the inside trader guy, the thief, the blackmailer –​and that’s what the banks do now. In the old days the banks would never have done that, it was considered immoral, but by 2010 the whole thing had shifted because of deregulation.1 By the time Wall Street: Money Never Sleeps hit cinemas in September 2010, banking, the financial markets and capitalism in general had all

in The cinema of Oliver Stone
Open Access (free)
Baker and Berman, and Tempean Films
Brian Mcfarlane

picture called A Date with a Dream (1948). That was our first break, as it were, into the movie business. We were pretty green at that time, so we used our own money, which we probably would have been forced to do, because, coming out of the army, we had no reputation to fall back on. So we financed it ourselves; I think the film cost about just under £10

in British cinema of the 1950s
Daisy Connon

Towards a Theory for African Cinema is an English translation of a talk given in French by the Tunisian filmmaker and critic Férid Boughedir (1944–) at a conference on international cinema, which took place in Montreal in 1974. In his presentation Boughedir discusses the vocation of the African filmmaker, who must avoid succumbing to the escapism and entertainment values of Western cinema and instead strive to reflect the contradictions and tensions of the colonised African identity, while promoting a revitalisation of African culture. Drawing on the example of the 1968 film Mandabi (The Money Order) by the Senegalese director Sembène Ousmane, Boughedir conceptualises a form of cinema which resists the influences of both Hollywood and auteur film and awakens viewers, instead of putting them to sleep. Boughedir‘s source text is preceded by a translator‘s introduction, which situates his talk within contemporary film studies.

Film Studies
Art, authorship and activism
Authors: Ian Scott and Henry Thompson

This book charts and analyses the work of Oliver Stone – arguably one of the foremost political filmmakers in Hollywood during the last thirty years. Drawing on previously unseen production files from Oliver Stone’s personal archives and hours of interviews both with Stone and a range of present and former associates within the industry, the book employs a thematic structure to explore Stone’s life and work in terms of war, politics, money, love and corporations. This allows the authors both to provide a synthesis of earlier and later film work as well as locate that work within Stone’s developing critique of government. The book explores the development of aesthetic changes in Stone’s filmmaking and locates those changes within ongoing academic debates about the relationship between film and history as well as wider debates about Hollywood and the film industry. All of this is explored with detailed reference to the films themselves and related to a set of wider concerns that Stone has sought to grapple with -the American Century, exceptionalism and the American Dream, global empire, government surveillance and corporate accountability. The book concludes with a perspective on Stone’s ‘brand’ as not just an auteur and commercially viable independent filmmaker but as an activist arguing for a very distinct kind of American exceptionalism that seeks a positive role for the US globally whilst eschewing military adventurism.

Abstract only
Sam Rohdie

Film noir Film noir derives essentially from popular noir literature: the writings of Raymond Chandler, James M. Cain, Dashiell Hammett and others. It is the reverse of the American dream whose promises of happiness, prosperity and security are confronted by a sordid reality conditioned by money and the amorality of it, weighed down at every level by cynicism, despair, violence, murder and hopelessness. Film noir is essentially a style, a night-time film where shadows and murky greys predominate. Dim reflections and shimmering electric lights create an unstable

in Film modernism
James Zborowski

Sydnor hand money to and receive drugs from a series of young men working at the bottom of the Barksdale hierarchy. At the end of the ‘hand-to-hands’, Sydnor and Bubbles sidle to Greggs in an unmarked van, and Sydnor offers a helpful summary of what we have just seen: ‘You don't hand no money to nobody that matters, you don't get no product from nobody that matters’. At the start of the next scene, the camera roves across photographs, mounted on a pinboard, of the hand-to-hands we have just witnessed, while off-screen dialogue once again reinforces how we should be

in Complexity / simplicity
Portraying medicine, poverty, and the bubonic plague in La Peste
Ragas José, Palma Patricia, and González-Donoso Guillermo

on an actual physician named Nicolás Monardes Alfaro (1493–1588) who resided in Seville and cultivated one of the first medical, botanical gardens in the city. 6 Throughout the episodes, Monardes looms as both an erudite but also a moral character amid the rapid decline of ethical paradigms as the epidemic expands. For instance, in his first appearance in the show, he refuses to accept money from merchants in exchange for

in Diagnosing history
The lady physician in the American western
Antonovich Jacqueline D.

‘not be willing to poison other women’s babies even to make money for their own’, and stressed the need for women to avoid becoming ‘apathetic citizens’. Gilman’s play concludes with the group of clubwomen converting to the suffragist cause, thanks to Dr Strong, the visiting physician from Colorado ( Gilman, 1911b ). It is significant that the protagonist of Gilman’s play was a woman doctor from the American West. For Gilman

in Diagnosing history
The good doctor of When the Boat Comes In
James Leggott

. Significantly, it is only when Bill Seaton, the family patriarch and former miner, becomes a ‘boss’ himself that he is able to afford the pioneering orthopaedic surgery that allows him to walk again following the pit accident that broke his back in the first place – for Bill used the compensation money from the pit owners (brokered by Jack Ford no less) to set up the first of a successful chain of shops. This concern with the

in Diagnosing history
Early twentieth century surgery on screen
Allitt Marie

fact, one of the storylines throughout the first season is resisting the move of the hospital uptown, to ‘where the money is’, to attract wealthy patients. While it seems clear that Casualty 1900s inherits a commitment to a message of social welfare from its namesake, the styles of the shows vary substantially. Casualty 1900s has an unusual style as part-reconstruction, part-documentary, while also striving to be a medical

in Diagnosing history