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Order and disorder
Chris Beasley and Heather Brook

limiting effects of power. Stanley here draws upon long-standing critiques of the undemocratic, unequal, and illiberal aspects of liberal democracies to insist that propaganda does indeed flourish within these polities. In particular, 50 Security he draws attention to the presence and proliferation of the insidious propaganda message that there are no controlling elements within these polities; that there are no modes of power directed towards persuading the citizenry to accept and embrace existing power relations within them. Reiterated cinematic narratives in

in The cultural politics of contemporary Hollywood film
Marie-Line and Chaos
Carrie Tarr

illiberal. The films’ focus on women also challenges more conventional (male) mainstream understandings of what might constitute political filmmaking (and political action). However, their progressive construction of cross-racial sisterhood is potentially undermined by the different cinematic strategies deployed to represent the different women. The chapter examines first what the films have in common, then analyses the problematic construction in each film of its

in Reframing difference
Justice unravelled, a tale of two Frances (1941 and 1943)
Susan Hayward

statement seems abundantly clear. The point is, however, that where Costa-Gavras's films are concerned, while they are for the most part based in one contemporary political event or another, they, nonetheless, also transcend their times. In exposing all forms of abuse of power, be it political demagoguery, military totalitarianism, dictatorship and the ensuing denial of human rights and undermining of justice – in short, films that give testimony to the death of democracy – they issue a timely reminder as to the extremes to which illiberal regimes will go. Costa

in The films of Costa-Gavras
From Le Thé à la menthe to La Fille de Keltoum
Carrie Tarr

two young men sets off on the ferry for France, vowing never to set foot in his country again. It thus dramatises the growing illiberalism of the Algerian state, makes claims for an identity which transcends the narrowly nationalistic, and accounts for the choice made by many Algerian intellectuals to live in exile in France. Conclusion This survey of émigré Algerian films made since the 1980s indicates a shift in perspective from films (still

in Reframing difference