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Auteurism, politics, landscape and memory

This book is a collection of essays that offers a new lens through which to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The films analysed span a period of some 40 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. The book offers a new lens to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic language and aesthetics. At the heart of this project lies an examination of the ways in which established auteurs and younger generations of filmmakers have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. The films discussed in the book encompass different genres, both popular and more select arthouse fare, and are made in different languages: English, Basque, Castilian, Catalan, and French. Regarded universally as a classic of Spanish arthouse cinema, El espíritu de la colmena/The Spirit of the Beehive has attracted a wealth of critical attention which has focused on political, historical, psychological and formal aspects of Víctor Erice's co-authored film-text. Luis Bunuel's Cet obscur objet du désir/That Obscure Object of Desire, Catalan filmmaker Ventura Pons' Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, Francisco Franco's El Dorado, Víctor Erice's El sol del membrillo/The Quince Tree Sun, and Julio Medem's Vacas/Cows are some films that are discussed.

Sarah Wright

embodies not just the trace of the body on screen, but those elements which are not traced indexically but which nevertheless form part of cultural memory.6 Laura Mulvey’s notion of a ‘delayed cinema’ from her book Death, 24x a second, observes how being able to use the pause and rewind functions using today’s technologies puts us in control of our subject and allows us to get close to our icons. Time, for Mulvey, is often viewed in terms of its ‘archivability’ (Mulvey, 2005). The body’s filmic traces, film’s contingency and the paradoxes of the capturing of the

in The child in Spanish cinema
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Contesting filiations
Julia Dobson

to reflect the critical and popular acclaim afforded his most recent work to date, De battre mon coeur s’est arrêté (2005). Audiard’s work reflects several of the dominant preoccupations of contemporary French cinema: an engagement with realism (the phenomenon of the ‘new new wave’), the interrogation of the construction of (cultural) memory, narratives of exclusion and déliaison sociale and a

in Five directors
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

, memorialised past is increasingly dependent upon, and recycled within, audiovisual representations such as those found in popular film. My aim is to consider how 1990s Hollywood cinema has activated a selective, revised sense of the past, and how memory approaches to film history are able to analyse this. In particular, I will stress how popular cultural memory is drawn upon as an aesthetic and commercial strategy of Hollywood

in Memory and popular film
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Maria M. Delgado

selected come from the opening decade of the twenty-first century, lies an examination of the ways in which established auteurs (Almodóvar, Garci, Saura) and younger generations of filmmakers (Cesc Gay, Alejandro Amenábar, Jorge Sánchez-Cabezudo) have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. In the age of globalisation, it is perhaps not surprising

in Spanish cinema 1973–2010
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Traumatic events and international horror cinema
Linnie Blake

a broader academic project to give voice to the historically silenced. Trauma Studies can thus be seen as a body of theoretical scholarship that addresses itself to cultural memory, to the modes in which traumatic historical events are representationally transmitted in time and space, to the politics of memorialising such events and experiences and to the cultural significance of vicarious modes of witnessing trauma. And as such, it is an entirely apposite discipline through which to read that most traumatic and traumatised of film genres – cinematic horror, a

in The wounds of nations
Marcia Landy

elements and emergent cultural memories of medievalism as legend and folklore. ‘The crystals of time’: decomposing the past Angelo Restivo has characterised Italian cinema and society as in a state of ‘vital crisis … connected, first, to the process of political and economic organisation that reconstructed the nation into the Italy we know today; and, secondly, to the larger and

in Medieval film
Representations of mental illness in the period dramas of Steven Knight
Ward Dan

the cultural memory of the First World War: A literary perspective’, Freud Museum London : Psychoanalysis Podcasts , (accessed 14 January 2020). Nielson , C. ( 2014 ). ‘ The other war dead: Asylum patients during the First World War ’, Beyond The Trenches , http

in Diagnosing history
Between theatre as cultural form and true media theatre
Wolfgang Ernst

memory is dislocated from the symbolic regime (the traditional diary) into the voice-recording machine itself (the tape recorder), resulting in a techno -traumatic irritation. There is a specific temp oral ity to the human voice when recorded on magnetic tape. Electro-technological media inscribe the voice into cultural memory by means of signals instead of symbols. Whereas the alphabetic recording of speech loses the hic et nunc of the event (Peters, 2009 , 35), technical voice recording preserves the presence-generating power of signal replay

in Beckett and media
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Auteurism from Assayas to Ozon
Editor: Kate Ince

There have been vigorous debates about the condition and prospects of auteur cinema in France over the last decade, debates that seem mostly to have gone unreported in anglophone criticism of francophone cinema. But these have been paralleled by a revival of international debate about the status of the auteur: in their extended chapter on auteur cinema added to the second edition of Cook's The Cinema Book, Pam Cook and Mieke Bernink observe that this was definitely underway by 1995. This book summarises the development of auteurism as a field up to the 1990s, drawing particularly on Wright Wexman's historical overview. Georges Méliès was the first auteur. Following the advent of structuralism and structuralist approaches to narrative and communication in the mid 1960s, a type of auteurism was born that preserved a focus on authorship. The book presents an account of the development of Olivier Assayas' career, and explores this idea of what one might call 'catastrophe cinema'. Jacques Audiard's work reflects several dominant preoccupations of contemporary French cinema, such as an engagement with realism (the phenomenon of the 'new new wave') and the interrogation of the construction of (cultural) memory. The book then discusses the films of the Dardenne brothers and their documentaries. Michael Haneke's films can be read as a series of polemical correctives to the morally questionable viewing practices. An introduction to Ozon's films that revolve around the centrality of queer desire to his cinema, and the continual performative transformations of identity worked within it, is presented.