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Empire and identity, 1923–39
Thomas Hajkowski

and cared less.”15 This chapter, and the subsequent one, argue that the BBC committed itself to projecting the empire in a broad range of program types—talks, features, plays, outside broadcasts, variety, and music. Given the reach and potential influence of the BBC, this suggests that empire remained important to British national identity into the 1950s, even after the first wave of decolonization. Certainly, to borrow David Cannadine’s phrase, what the empire “looked like” changed significantly from 1922 to 1953, but it was almost always in the BBC’s schedules.16

in The BBC and national identity in Britain, 1922–53
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Algerian national cinemas
Guy Austin

continuity’, while men are constructed as the progressive agents of modernity (McClintock 1997 : 359). In an echo of the gendering of space in colonialism (the feminisation of the territory to be occupied, possessed or penetrated), nationalist resistance also establishes a gendering of space, so that ‘decolonization is waged over the territoriality of the female, domestic space’ (McClintock 1997 : 360). In Algeria, as Nefissa

in Algerian national cinema
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Sue Harris

and Popular Culture: Bertrand Blier’s Les Valseuses (1973) ’ in Susan Hayward and Ginette Vincendeau , French Film: Texts and Contexts, 2nd edn, London and New York , Routledge , 213-26 . Lefèbvre , Henri ( 1968 ) La Vie quotidienne dans Ie monde moderne, Paris, Gallimard . Rigby , Brian ( 1991 ) Popular Culture in Modern France: a Study of Cultural Discourse, London and New York , Routledge . Ross , Kristin ( 1996 ) Fast Cars, Clean Bodies: Decolonization and the

in Bertrand Blier
Malcolm Turvey

of post-war French modernisation, France was transformed with ‘unusual swiftness’ from a ‘rural, empire-oriented, Catholic country’ into an ‘industrialized, decolonized, and urban one’ (Ross 1995: 4). According to Ross, in France, ‘unlike in the United States, [modernization] is experienced for the most part as highly destructive’ (1995: 21–2). For her, Tati is the ‘greatest analyst of postwar French modernization’ in part because his films register the ‘suffering and destruction’ (30) that ‘inevitably accompanied’ it (63). Ross is hardly alone in holding this view

in Screening the Paris suburbs
Open Access (free)
The Queen in Australia
Jane Landman

’, trans. Michael Holquist and Caryl Emerson, in Pam Morris (ed.), The Bakhtin Reader (London: Edward Arnold, 1994 ), p. 184. 67 SHC, box 51, ‘Progress report’, April 20 1954. 68 Deborah Rose Bird, Reports from a Wild Country: Ethics for Decolonization

in The British monarchy on screen
Lynn Anthony Higgins

industry during the Occupation. Interestingly, the film features Jean Aurenche as one of the protagonists and Pierre Bost in a secondary role. Post-colonial If Tavernier’s relation to the Occupation is mediated by sympathy for and identification with his father’s generation, his outlook in relation to colonialism and decolonization places him squarely within his own age cohort. Tavernier celebrated his twentieth birthday on 25 April 1961. This was the penultimate year of France’s conflict in Algeria and thus, for example, the

in Bertrand Tavernier
Poststructuralism and naturalism in literature, television and film in the 1980s
Jonathan Bolton

favoring emerging writers over veteran authors from earlier generations, and in some ways privileging fiction over drama and television writing. The new generation of writers emerging in the 1980s, those hyped in Granta 's “Twenty Under Forty,” or “The Best of Young British Novelists” in 1983—Julian Barnes, Pat Barker, Martin Amis, Salmon Rushdie, Graham Swift, Ian McEwan, Kazuo Ishiguro and Rose Tremain, to name a few—had been born during or just after the Second World War and grew up during the era of decolonization. They generally practiced what

in The Blunt Affair
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Addressing intersectionality in the casting and performance of Chris Chibnall / Jodie Whittaker era Doctor Who
Christopher Hogg

, S.M. and C. Saenz ( 2019 ). ‘ Colonialist Pasts and Afrosurrealist Futures: Decolonizing Race and Doctorhood in Doctor Who ’, Journal of Medical Humanities , 40 ( 3 ), pp. 315–28 . Cantrell , T. and C. Hogg ( 2016 ). ‘ Returning to an Old Question: What Do Television Actors Do When They Act? ’, Critical Studies in Television: The International Journal of Television Studies , 11 ( 3 ), pp. 283–98 . Cantrell , T. and C

in Doctor Who – New Dawn
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Carrie Tarr

: Decolonization and the Reordering of French Culture , Cambridge, Massachusetts and London , MIT Press . Rochereau , Jean ( 1983 ), ‘Coup de foudre de Diane Kurys, Féminisme bien tempéré’, La Croix , 7 June. Straayer , Chris ( 1990 ), ‘The hypothetical lesbian heroine’ , Jump Cut , 35 , 50–7 . Tranchant , Marie -Noëlle ( 1983 ), ‘Au bonheur de Diane’ , Le

in Diane Kurys
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Joseph Losey and the crisis of historical rupture
Colin Gardner

tolerance (the blacklist); his career, his oeuvre , spans the most fundamental cultural confrontation of the century – between Marxism and Modernism, between progressive “realism” and the avant-garde subversion of optimism.’ 2 It is a life ideally suited, perhaps, to understanding and dissecting a Britain racked by the uncertainties and trauma of decolonization (witness the Suez débâcle of 1956), and more importantly, a country

in Joseph Losey