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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
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
Abstract only
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
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

’s interest in science, technology, medicine and innovation in Restoration . But in such cases, this benevolence is always tempered by what today seem like wilful abuses of power – at times violently wilful. Such monarchs have not yet become the domesticated figureheads of the late modern films – but even those monarchs occasionally abuse their power within the private sphere. Indeed, if any of these

in The British monarchy on screen
‘Performing’ la crisis
Maria M. Delgado

. The terms ‘recession’ or ‘economic crisis’ may conspicuously never feature in Almodóvar’s film, but the Guadiana plotline offers a pertinent comment on a society where patronage, politics and public administration are indelibly interwoven. Los amantes pasajeros is a film that systematically highlights the abuse of power by those in authority, the culture of pelotazo denounced by Antonio Muñoz Molina in Todo lo que era sólido, published in Spain the same month as Almodóvar’s film’s domestic release (2013: 39). The metaphor of a society flying around in circles

in Performance and Spanish film
Beth Johnson

(herself unable to have children and unaware of the torrid origins of her new son), by local doctor, Metzler (Timothy West). Later, after discovering and hiding for years Metzler’s fraudulent practice of selling babies, Sam’s beating of his (adopted) son is understood as an external act of emotional turmoil in which his lifelong anxiety and anger at the events of the past are revealed. Furthermore, Tom’s investigations uncover additional abuses of power from the past – most notably that Metzler, now a politician, was, in his father’s day, part of an active ring of

in Paul Abbott
Modernising Spain through entertainment television
Mar Binimelis, Josetxo Cerdán, and Miguel Fernández Labayen

:41:24 PM 44  Mar Binimelis et al. The Transplant was not so clear, but the programme contained all the elements of pessimistic humanism that Chicho had pointed to in his previous work. The story was about a man who was living in a society with few basic human rights and in which cosmetic surgery was the norm. He, however, was forced to sell his organs. The moral of the story focused on social differences and the abuse of power. Nevertheless, he broached the most daring subject in History of Frivolity. He came up with the idea of reviewing the history of censorship

in Popular television in authoritarian Europe