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Adapting classical myth as Gothic romance
I.Q. Hunter

’s imperialist films, such as The Abominable Snowman (1957), The Stranglers of Bombay and The Legend of the 7 Golden Vampires , employ otherwise racist commonplaces about the purity and naive primitivism of other cultures in order to criticise the violence, secularism and hypocrisy of the West. 6 The trope of woman as transcendent Other is a means of countering the male-identified world of science and rationality with an

in Monstrous adaptations
Valentina Vitali

led to greater spread of economic growth in the country (Ghosh 2005: 1033). There was a significant acceleration in the growth rate and much greater willingness to import, 130 CAPITAL AND POPULAR CINEMA not only goods but also capital. Thanks to the higher growth rate and the increased demand for agricultural labour, poverty began to reduce, also in the countryside (Desai 2005: 193). But this acceleration came, again, without restructuring, and the estimated share of the black or parallel economy in the country’s economic life also soared. Secularism in the

in Capital and popular cinema
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Gothic conspiracy and the eyes of Lara Means
Julia M. Wright

Something happens to US gothic television as its narratives develop – it folds back in on its cultural origins, turning from contemporary secularism or broad religious inclusiveness to Catholicism and its gothic accoutrements. Supernatural in the first three seasons is entirely centered on folk beliefs, exposing a Christian faith healer, for instance, as successful

in Men with stakes
Childhood and rurality in film
Owain Jones

humanity, which sees the industrial revolution, the growth of modern capitalism, urbanism, science, liberalism and secularism as highly problematic. The rural, against all the odds and all evidence, remains a place partly outside this process (most obviously outside urbanisation), and thus a refuge not only for the romantic child, but romantic society. Films are important in this respect in two ways. Many of

in Cinematic countrysides
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Chris Beasley and Heather Brook

religion in American social life was being questioned and new (feminist) resistance to patriarchal marriage was emerging, The Poseidon Adventure presented faith and family as the trusted solution to the tidal wave of secularism. Indeed, the very genesis of the rise of disaster movies in the 1970s emerged from a context of lost confidence in American political leadership (Ryan and Kellner, 1988: 49). In an uncertain world characterised by duplicitous politicians, greedy corporations, and questions concerning the legitimacy of violence (by police and the military), 1970s

in The cultural politics of contemporary Hollywood film
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

launched by then President Nicolas Sarkozy in 2009. According to Travis Nesbitt and Val Rust, ‘the mere existence of such a debate and subsequent media coverage reflects the burning preoccupation with questions of national identity in contemporary France, a preoccupation that has only intensified with the increasing racial, ethnic, cultural, religious, and sexual diversity of the nation’ (219). For Robert Zaretsky, France is ‘increasingly at war with itself over the meaning of secularism and these two conflicts, deeply entwined with one another, are dramatically

in Charlotte Gainsbourg
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David Murphy and Patrick Williams

ideas. Against a background of the religiously inspired burning of Averroes’ books, the film’s final message is, ‘Ideas have wings. No one can stop their flight.’ This is far from being the only such articulation of Chahine’s core beliefs, but it is clear and defiant – a politically necessary restatement of those things he feels forced to defend. His tenacious advocacy of a set of beliefs grounded in humanism, secularism

in Postcolonial African cinema
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James Chapman

! I shall be ruthless and devastating!’ In this respect Dantès shares the outlook of the duplicitous Caderousse (Roland Blanche): ‘To hell with priests! I don’t believe in your God … He doesn’t exist. If he did, the world wouldn’t be so ugly. Good people would be rewarded and bad people punished.’ This explicit rejection of divine authority can probably be explained as an expression of the secularism of the late twentieth century: it is certainly not consistent with Dumas. The other major change is to the ending. In Dumas, Dantès’s former fiancée Mercedes is left

in Swashbucklers
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Ruth Barton

avoidance of religious specificity as an attempt ‘to create a culturally neutral text designed to play to as broad an audience as possible, thus demonstrating the underlying commercial concerns of feature animation production’ ( 2011 : 94). It is interesting in this regard, that Moore himself has explained that the secularism of The Secret of Kells was a direct consequence of the co-production process: Our initial rendering of the plot was more religious. I was very comfortable working with the themes, character, and motifs, since I’m Irish Catholic

in Irish cinema in the twenty-first century
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Tradition and taboo
Guy Austin

during the war and afterwards, FLN policy was further removed from socialist secularism than some historians have suggested; instead it was complicit with hardline Islamist opinion in maintaining a deeply embedded patriarchal system which blocked any possibility of granting women’s rights. A powerful mixture of the FLN’s perennial need for legitimation (which, in the absence of democracy, it sought in Islam as well as elsewhere

in Algerian national cinema