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Stage Beauty as a cerebral retort to Hollywood
Sarah Martindale

Released six years after Shakespeare in Love won Best Picture Oscar, Stage Beauty (Eyre, 2004) portrays Shakespearean performance history at the point in the Restoration when female impersonators were replaced by actresses on the English stage. Given the similarities between the two films, it comes as no surprise to find that the press response to Stage Beauty made frequent comparisons, describing it as: ‘bitchy half-sister to Shakespeare in Love’; ‘Shakespeare in Love II’; and ‘Shakespeare in Love for transvestites’. Those involved in making Stage Beauty were keen to differentiate its cinematic qualities. The film was adapted by Jeffrey Hatcher from his stage play Compleat Female Stage Beauty, and directed by Richard Eyre, a former artistic director of the National Theatre. This chapter examines the textual features that mark this film out as a serious-minded depiction of theatrical heritage and gender play, along with the reception discourses that the film stimulated. It also considers possible barriers to cultural engagement with Shakespeare as manifested in ‘art cinema’ with reference to audience research.

in British art cinema
Ruth Barton

reduction and a sense of wellbeing. In the UK, the AHRC report Understanding the Value of Arts and Culture (Crossick and Kaszynska, 2016 ) set out to explore how people benefited from cultural engagement. In line with other such research projects (Merli, 2002 ), the AHRC report focused largely on participatory arts to make the case that participation engendered feelings of wellbeing, empathy and reflection, as well as encouraging civic engagement. In an Irish context, John O’Hagan ( 2016 ) has also considered the societal benefits of state expenditure on the

in Irish cinema in the twenty-first century
A tale of three women, if not more
R. Barton Palmer

a record, if a brief one, of a subculture that is of no little significance to modern French and even European social history, providing an analogue to the renowned British Free Cinema documentary, Momma Don’t Allow (1955), co-directed by Tony Richardson and Karen Reisz, which surveys the similar cultural scene in a North London jazz club. In fact, if Tristesse is officially an American film version of a French bestseller, it is remarkably infused with a profound sense of contemporary Frenchness; but such cultural engagement in the fictional text has more to do

in French literature on screen
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Sarita Malik and Darrell M. Newton

documentary and dramatic programmes, particularly in the 1970s, at first primarily for the public-service market. As independent broadcasting grew in the UK during the 1990s, Hilmes notes how digital platforms quickly created a ‘new normal’ of high-end co-productions. These have been particularly popular in the UK and the USA.16 This continuing relationship between the UK and the USA highlights transnationalism, global audiences and cooperative productions, but also cultural engagement on an international scale; leading to the kind of further research this text seeks to

in Adjusting the contrast
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Ruth Barton

, under these circumstances, laughable. In earlier critical times, a work such as this would have been written off as a ‘europudding’, that is, the indigestible outcome of mixing up multiple European funding sources with little or no investment in cultural engagement, and a dilution of the project of building a distinctive national cinema. Writing in 1987 in the seminal Cinema and Ireland , Kevin Rockett, for instance, warned of the ‘necessary compromises of international co-productions’ (Rockett, Gibbons and Hill, 1987 : 143). Now, co-productions are the backbone of

in Irish cinema in the twenty-first century
Exploring gender, anti-racism, and homonormativity in Shamim Sarif ’s The World Unseen (2001) and I Can’t Think Straight (2008)
Alberto Fernández Carbajal

couple and Miriam into the ‘femme’ one, she is assimilating them too complacently into Western sexual and gender taxonomies, without any sense of their sexualities having been a part, at any point in history, of any cultural conversations regarding Islam and Muslim identities. In addition, in allowing her main intertext to be a novel set in the American South, she reveals a lack of cultural engagement with South African homosexualities, a feat potentially exacerbated by her having accessed the South African past via familial narratives and her own literary imagination

in Queer Muslim diasporas in contemporary literature and film
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Claire Hines

certainly successful at the box office, in other ways the 1970s and 1980s were challenging decades for Bond. It has been well documented that, having been central to popular culture in the mid-1960s, by the 1970s James Bond was in some ways less vital to it. This was in part demonstrated by the fact that the Bond films went from being involved in setting cultural trends like the spy craze, to exploiting trends in contemporary cinema and using elements of comedy and self-parody, though these shifts were necessary to keep Bond active via such cultural engagements, if not

in The playboy and James Bond
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John Corner

cultural engagement and reproduction, whose growth and social permeation have produced a situation where degrees of ‘mediadependency’ (a reliance on media sources) are the norm, whether or not this is finally assessed as constituting a form of domination. Like other forms of political and social power, the power of the media can be met by expressions of criticism and of personal rejection and opposition but it is only really countered by kinds of practical intervention. 18 PART ONE Increased scope for effectively placing a check on mainstream media power can follow

in Theorising Media
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John Corner

. These factors importantly include the patterns of work and of everyday domestic life within whose terms cultural products are encountered with different degrees of purposiveness and in whose settings they are consumed. Bourdieu himself gave emphasis to the ‘conditions of necessity’, a function of economic and social class and also, crucially, of gender, which variously constrain the times and spaces within which modes of cultural engagement can be pursued. As well as constructing these daily parameters, such conditions also provide orientations and tendencies of mood

in Theorising Media
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

El Hadj passes Williams, Space and being in contemporary French cinema.indd 196 11/01/2013 15:18:41 Re-siting the Republic – Abdellatif Kechiche 197 the Assemblée Nationale in the police van after being arrested as a sans-papiers (he will be stripped naked and his right to work legally and continue his studies withdrawn). We catch a fleeting glimpse of the building’s imperious statues depicting hallowed Officers of the State, yet there is no sense of this being a performative urban space and no textual/cultural engagement is initiated. For Kechiche, such an

in Space and being in contemporary French cinema