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Dreams and the dreamlike in Pose (2019)
Lydia Ayame Hiraide

oppression which considers ‘trauma as the direct result of systemic forces (e.g., heterosexism and discrimination), as well as transgenerational systems of oppression (e.g., children of those who have experienced racism)’ ( 2017 : 1). Through this lens of ecosystemic oppression, I consider intersectional oppression as a source of substantial trauma for marginalised communities who live at the precarious interstices of structural

in Dreams and atrocity
Jonathan Bignell
Stephen Lacey

discrimination of quality functions as a marker of taste and discernment in a cultural hierarchy that encompasses both the object to which quality is attributed and also the person making the judgement. Within the television industry, quality refers to lavishness of budgets, the skill of programme makers and performers, and the prestige accruing to programmes because of their audience profile and seriousness of purpose. But within the academic discipline of Television Studies, quality has a broader meaning that also focuses attention on popular television that might be

in Popular television drama
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

and shelter for the homeless; and oppose racial discrimination and promote civil rights, while also promoting equal rights for women. We have to encourage a return to traditional moral values. Most importantly, we have to promote general social concern and less materialism . . . Bateman shows us through his

in Monstrous adaptations
Abstract only
Peter Marks

. If this makes Time Bandits seem overtly philosophical, the film’s triumph comes through dealing with these weighty issues from Kevin’s perspective. Gilliam validates the child’s natural inquisitiveness and ability to accept the realm of the fantastic and learn from it. Kevin’s adventures test out his capacities for moral discrimination, resourcefulness, and courage, and his success

in Terry Gilliam
Abstract only
Jonathan Rayner

Harbour Bridge suggests. The lack of discrimination in relation to the film’s representation can be gauged from its massive box-office success in Australia and New Zealand, in comparison with its failure in Italy and Great Britain. 21 The Australian abroad By the mid-1960s and 1970s, the very idea of Australia as British had definitively – if unevenly – changed … Some famous revival films of the 1970s and early 1980s embody these dedominionising strategies. In The Adventures

in Contemporary Australian cinema
Abstract only
Jonathan Rayner

citable cultural export may have been overstated in later years. 8 The years of the period film’s dominance were also marked by the success at home and abroad of Australian Gothic films (particularly the Mad Max films, but also The Last Wave and Summerfield which received AFC support), which hardly conform to the rubric of discretion, positive discrimination and cultural respectability. There are also films with historical settings beyond the shores of Australia and openly critical of the British colonial influence (such as

in Contemporary Australian cinema
Peter Marks

context that we could investigate by taking issue with Richard Corliss’s view that Munchausen is a ‘lavish fairy tale’. Generically speaking, the film, like the book, belongs to the subgenre of the imaginary voyage, one that harks back through Jonathan Swift’s Gulliver’s Travels at least as far as Sinbad. This might seem an academic discrimination, but it bears both on general questions of adaptation

in Terry Gilliam
Appointment with Fear
Richard J. Hand

Melville for the BBC North American Service. As Crook reveals, the series enjoyed great popularity on the BBC Home Service, yet Gielgud warned actors that their appearance in a soap opera would be ‘a breach of contract’ (Crook, 1999a : 153). Although Gielgud’s ‘prejudice, pomposity and elitist discrimination [was] responsible for holding back the tide of one of the most significant radio programming forms

in Listen in terror