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Marie-Line and Chaos
Carrie Tarr

Eve (1999) and Benguigui’s Inch’Allah dimanche (2001). In Marie-Line and Chaos , however, female solidarity results in a significant joint challenge to the cross-racial patriarchal abuse of power. No doubt, any forging of links between women across differences of race and ethnicity can be seen as politically progressive at a time when the Front National continues to attract French voters and policies on immigration are becoming increasingly

in Reframing difference
Robert Giddings

dies in his stead at the guillotine. He goes to his death with the words, ‘It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.’ The novel leaves a major impression of an elemental sweep of mob violence. Despite the passages inserted about the abuse of power by the aristocracy to justify the rising of the French people

in British cinema of the 1950s
The spectacle of death and the aesthetics of crowd control
Emma Galbally and Conrad Brunström

political justice. If political executions are a form of theatre, then theatre itself lends itself to a readily politicised culture of spectacle. All Gothic theatre, and perhaps all theatre, concerns itself with the uses and abuses of power. The issue of how to accommodate yet sanitise spectacle can be explored by considering two lavish stage entertainments of the late 1790s: Aurelio

in The Gothic and death
The politics of ‘Crazyspace’, children’s television and the case of The Demon Headmaster
Máire Messenger Davies

’s necessary to start your life. It gives you things like – GIRL 2: Freedom. BOY 2: You’d have to get rid of every child in the world as well. [Everybody: yeah, yeah.] BOY 1: With every child it would be impossible. GIRL 1: You’d have to get rid of everybody on the other side of the world. INT.: So we think it would be a bad idea? GIRL 1: A totally bad idea. Pursuing issues of credibility and likelihood, plus the abuse of power, they then discussed not just the realism, or otherwise, of turning a person into a lizard but what was more important to

in Popular television drama
Abstract only
Carrie Tarr

, the lack of petrol and vegetables. But its focus on personal revolt ties in with the social revolution underpinning May 1968 which called into question conventional hierarchies and divisions in French society. Anne’s revolt against her bourgeois mother, motivated by her mother’s unjustifiable refusal to let her see her working-class boyfriend, highlights the rigidities and prejudices of the bourgeoisie and their abuse of power

in Diane Kurys
Spanishness, dark comedy and horror
Juan F. Egea

Mario Conde and ‘maverick’ financiers such as Javier de la Rosa. The so-called cultura del pelotazo (a culture of political corruption and abuse of power for financial gain) was in full swing. Taken as a whole, this economic, demographic and moral context reframes Justino’s killing. The outcome of financial hard times and a get-rich-quick boom, Justino’s actions express not only rebellion against but

in Contemporary Spanish cinema and genre
Hyangjin Lee

the Confucian ethics also helps the South Korean films to divert attention from the class conflicts. The films use the traditional family values to promote the king’s authority to stop the abuse of power by the yangban class. At the closure of Ch’unhyangjŏn , the heroine’s ordeal is ended, and the villain is punished in the name of the king, the ultimate father figure of the people. Confucianism conceives society as a

in Contemporary Korean cinema
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David Murphy and Patrick Williams

and the abuse of power. In Finyé , it is water that plays the main symbolic role. Bâ’s recurring dreams of a pure, innocent union with Batrou take place by a river; the couple are dressed in white robes, and a young boy hands them a calabash of water from the river, from which they both drink; the young lovers then look coyly into each others’ eyes. However, the calabash is thrown back into the river and the camera lingers

in Postcolonial African cinema
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Scott Wilson

be subject to it, and must always threaten it with betrayal or abuse. It is the satanic aporia at the heart of any sovereign state whatever its constitution or democratic institutions and process. Any form of universal democracy beyond the nation-state and citizenship, would require a ‘supersovereignty’ that also could not but betray it. Therefore, the ‘monstrous’ abuses of the Security Council of the United Nations ‘or of certain superpowers that sit on it permanently, is an abuse at the very beginning, well before any particular, secondary abuse. Abuse of power

in Great Satan’s rage
Procedure and bureaucracy in Special Branch (ITV, 1969–74) and The Sandbaggers (ITV, 1978–80)
Joseph Oldham

, causing much resentment and often bringing SIS to the verge of causing a major international scandal. Whilst this might be read as a variation on the rule-bending ‘rogue cop’ character in the model of Jack Regan (John Thaw) in The Sweeney, The Sandbaggers highlights the disturbing potential of Burnside’s abuses of power much more deliberately and adopts a more ambivalent attitude. In ‘Is Your Journey Really Necessary?’ one of his sandbaggers, Alan Denson (Steven Grives), traumatised after a mission gone wrong, asks to leave the section in order to get married. Unwilling

in Paranoid visions