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The Handmaid’s Tale and the significance of unexpected choice
Trisha Dunleavy

conflicting narrative requirements, are reconciled in the high-stakes context of the last act of a season finale episode. Although contributions to this reconciliation have a larger range of sources than June alone, the sequence examined here provides an effective demonstration of THT 's approach to this because of the extent to which this sequence develops the show's ‘overarching story’ and directly confronts the moral and emotional conflicts that this larger story entails for June. Whilst THT 's narrative progression is foregrounded most overtly in the changing actions

in Complexity / simplicity
Gender, nostalgia, and the making of historical heroines
Aeleah Soine

worth she has, and then by rape, for empty promises of assistance in finding her separated family. Despite these nuanced portrayals of African American women, there is still the problem represented by the comedically redeemed steward, who is bludgeoned to near-death twice, and then finds God, and tries to make amends. Such reconciliations were nearly universal for the characters in the Mansion House hospital, who have all

in Diagnosing history
Early twentieth century surgery on screen
Allitt Marie

apprentice Dr Bertie Chickering Jr (Michael Angarano). It is especially in the friction, failings, and eventual reconciliation that the dynamics of their teacher–student relationship comes through. Their inequalities in power are evident early on when Thackery persuades Bertie to join him in experimenting on prostitutes, and yet this is complicated by Bertie’s effective amendment to what becomes their successful device to help with

in Diagnosing history
Thinking infantile eroticism
Victoria Best and Martin Crowley

reconciliation, the works of Christine Angot offering something of a paradigm here. Many texts treat this issue sensitively and creatively, but some, in their use of graphic sexual detail (Angot once again exemplary) blur the borderlines between a detailed and provocative exposure of child abuse, and a collapse into the pornographic. On the furthest end of this scale, there have also been some notably controversial texts, such as

in The new pornographies

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

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Soft stardom, melodrama and the critique of epic masculinity in Ben-Hur (2016)
Thomas J. West III

lacks even the desire to do anything other than survive. Gone is the restless, rebellious spirit of Heston which so impressed the Roman commander Arrius that he had the slave brought to his chambers. Thus, while Heston’s onscreen suffering never seems to assault his granite-like masculine persona, Huston’s does precisely that, rendering him receptive to the purifying spirit of Christ – and the message of forgiveness and reconciliation that he represents – that will become a key part of the film’s second half. Indeed, this film eschews the earlier practice of leaving

in The Bible onscreen in the new millennium
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Guy Austin

. Rien ne va plus does include self-conscious, auteurist references to Chabrol’s earlier films, such as Juste avant la nuit (the wintry setting, the shot of the oval mirror, the stained handkerchief), Les Noces rouges (the handcuffing together of the two protagonists) and Betty (the reconciliation at the end to the strains of Michel Jonasz). But it places itself above all in the genre of the comic spy/ caper movie

in Claude Chabrol
Lez Cooke

screenplay based on Gillian Slovo’s novel about the Truth and Reconciliation Commission in post-apartheid South Africa. Kennedy Martin’s screenplay for Red Dust (BBC 2, 9 July 2005) is a sensitive and skilful adaptation of Slovo’s novel, in which Sarah Barcant (Hilary Swank), a white South African lawyer, returns to South Africa, on the request of her mentor Ben Hoffman (Marius Weyers), to represent ex-ANC activist turned politician Alex Mpondo (Chiwetel Ejiofor) at a Truth and Reconciliation hearing where ex-policeman Dirk Hendricks (Jamie Bartlett) is requesting amnesty

in Troy Kennedy Martin
Open Access (free)
History, legend and memory in John Sayles’ Lone Star
Neil Campbell

to help a new generation of wetbacks, it triggers her memory of crossing and draws her to a point of reconciliation with that past. Although she has no desire to go ‘home’ to Mexico with her daughter and grandson, who has a ‘Tejano roots thing’, Mercedes will ultimately choose to help Enrique and his fiancée cross to the US, showing the ‘mercy’ her name suggests. Similarly, Sam investigates the history

in Memory and popular film
Rowland Wymer

ruins of the one destroyed in the devastating air raid of 1940. In using the traditional form of the Requiem Mass Britten was fulfilling the requirements of a public act of remembrance and reconciliation 3 but by interweaving the Latin liturgy with nine poems, or extracts of poems, by the poet who had done most to convey the horror and the pity of the First World War, Britten was making a more personal and, indeed, angry

in Derek Jarman