Search results

You are looking at 1 - 10 of 18 items for :

  • "secularism" x
  • Manchester Film and Media Studies x
  • Refine by access: All content x
Clear All
Abstract only
Queering Islam and micropolitical disorientation
Alberto Fernández Carbajal

nor as inhabitants of a different semiotic dimension; instead, like most of their other coreligionist and diasporic comrades, queer or otherwise, they should be seen as contributing to the disorganisation of solidified ethnic and sexual categories in our allegedly liberal West. I also discuss the work of Timothy Fitzgerald in order to reveal how, despite their constant pitting in Western discourses, ‘secularism’ and ‘religion’ are interdependent concepts only conceptually separated during the European Enlightenment, demonstrating that the supposedly secular West is

in Queer Muslim diasporas in contemporary literature and film
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
Abstract only
Joseph McGonagle

brought the Pasqua law, which further toughened entry and residence regulations for foreigners. In the autumn of 1989 the place of Islam in France began to attract unprecedented political and media interest. When the headmaster of a state school in Creil, north of Paris, suspended three young Muslim women for wearing headscarves – because he judged it contrary to long-standing French laws on secularism in French schools – his decision became a major political controversy and was quickly dubbed the ‘affaire du foulard’ (headscarf affair). Forced to act, the Minister of

in Representing ethnicity in contemporary French visual culture
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
Abstract only
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
Abstract only
A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)
Alberto Fernández Carbajal

femininity that is simultaneously oriented towards heteronormative male fantasy and queer subversion. The strategic appropriation of Umm Kulthum allows Nidali to locate herself in the continuum of Arab culture: at once a part of mainstream Arab culture, yet also in defiance of Arab patriarchal values with her embrace of queerness. The troubled yet complex relationship between Waheed and Nidali is central to A Map of Home . As a diasporic Palestinian man committed to anti-colonialism and political secularism, Waheed remains sympathetic to his

in Queer Muslim diasporas in contemporary literature and film
Abstract only
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
Abstract only
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
Abstract only
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