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The 1988–89 NYSF Coriolanus
Robert Ormsby

have worked at the NYSF but by 1988 he had made more than twenty films. With his penetrating gaze, he exuded a dangerous off-kilter charisma on screen, whether he was delivering a cameo as the comically suicidal Duane in Woody Allen’s Annie Hall (1977) or his Academy-award-winning performance as Nick, a psychologically damaged and tragically suicidal Vietnam war veteran in The Deer Hunter (1978

in Coriolanus
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The minor films
Andrew James Hartley

sympathies developed comparatively late. In the 1960s he campaigned for civil rights (with Marlon Brando), called for support of President Johnson’s gun control act of 1968, and protested the Vietnam war. Such were his liberal credentials that in 1969, during the build-up to the release of Caesar , he was approached by the Democratic party to run for the Senate on their ticket. He declined after a good deal of

in Julius Caesar
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Anne Sweeney

the point that the real no longer has time to be produced as such […] Continuation of war by other means. 20 Baudrillard cites Francis Ford Coppola’s version of the Vietnam War, Apocalypse Now , as having become the ‘real’ Vietnam, the cause after the event. Southwell understood this anticipatory aspect of imagery perfectly, it

in Robert Southwell
Taking the measure of Antony and Cleopatra, Royal Shakespeare Company, 1972, 1978, 1982
Carol Chillington Rutter

hangover. In 1968 Anglo-American youth culture found radical politics on the streets of London, New York and LA. In the UK, anti-Vietnam war protests staged in front of the American Embassy in Grosvenor Square turned violent. The Women's Liberation Movement took two assertive steps forward: the Abortion Act came into effect, and women sewing machinists at Dagenham went on strike for equal pay. The Theatres Act ended censorship in the theatre industry by abolishing the historic role of the Lord Chamberlain to license plays for performance. Almost immediately, the anti

in Antony and Cleopatra
Western adaptations of Shakespeare
Kinga Földváry

this message more than the 1950s. Comic and parodic visions – McLintock! After the genre’s heyday, the 1960s and 1970s certainly saw a decline in production and consumption, possibly as a result of the growing historical and political awareness of the Indian–white antagonism being plagued by outdated and politically incorrect stereotypes. Added to that, the painful lessons of the Vietnam War no longer allowed such wide-eyed visions of white supremacy, but invited more critical or ironic attitudes towards ethnic conflicts, which many reviewers refer to when

in Cowboy Hamlets and zombie Romeos