Search results

You are looking at 1 - 10 of 180 items for :

  • "social class" x
  • Manchester Film and Media Studies x
  • Refine by access: All content x
Clear All
From the silent era to the 1990s

Long before the emergence in the 1990s of a ‘cinéma de banlieue’ on the heels of Mathieu Kassovitz’s La Haine (1995), French filmmakers looked beyond the gates of the French capital for inspiration and content. In the Paris suburbs, they found a vast reservoir of architectural forms, landscapes and contemporary social types in which to anchor their fictions. From the villas and vacant lots of silent serials of the 1910s and the bucolic riverside guinguettes of 1930s poetic realism, to the housing estates and motorways of the second post-war, the suburban landscape came to form a privileged site in the French cinematographic imaginary. In keeping with directorial vision, the prerogatives of the film industry or the internal demands of genre, the suburb could be made to impart a strong impression of reality or unreality, novelty or ordinariness, danger or enjoyment. The contributors to this volume argue collectively for a long history of the suburban imaginary by contrasting diverse ‘structures of feeling’ (Raymond Williams) that correlate to divergent aesthetic and ideological programmes. Commenting on narrative, documentary and essay films, they address such themes as class conflict, leisure, boredom, violence and anti-authoritarianism, underscoring the broader function of the suburb as a site of intense cultural productivity.

Abstract only
Dramaturge and mauvais esprit
Sarah Leahy and Isabelle Vanderschelden

after screenwriters of the classical period, described by Pierre Billard ( 1995 : 256) as the ‘dramaturge’ of French cinema (in contrast to Prévert, the poet). He played a major role in shaping the classic French cinema, influencing the stories that were told and their recurring preoccupations. These include themes that are indelibly associated with 1930s French cinema, such as social class

in Screenwriters in French cinema
Abstract only
Stephanie Dennison and Lisa Shaw

reporter in Pistoleiro bossa nova (Bossa Nova Gunman, 1960), set in the one-horse town of Desespero, who represents the newspaper A Voz do Desespero (literally ‘The Voice of Despair’). The chanchadas thus got their own back on the relentless savaging that they received from film critics in the press. The dialogues of these comedy films repeatedly used language as a marker of social class, and the penchant of social climbers

in Popular cinema in Brazil, 1930–2001
Jonathan Rayner

subsequent analyses, in terms of the particular characteristics of scripting, casting and shooting displayed by films made during and portraying Britain’s war. The documentary and propagandist emphases result in distinctive national modifiers to the accepted conventions of the war film. In British wartime filmmaking, the recognition of differences across social classes, the incorporation of regional diversity in national representation, and the informative worth of factual images encapsulate the judicious assimilation of documentary materials and meanings within feature

in The naval war film
Tattooing, primitivism, class and criminality
Matt Oches

signify social standing. As Vanessa Smith states, Edward Christian ‘sees a natural aristocracy as uniting Christian with the Tahitian noble savage’ ( 2010 : 260). This naturalised connection becomes specular and indelible through the cultural practice of tattooing. An implicit acceptance of class divisions partially structured the form of primitivism that led many members of the Bounty to be tattooed, as well as the different designs they received. Two types of primitivist identification based on social class can be discerned in the tattooing

in Tattoos in crime and detective narratives
The professionalisation of medicine in Poldark
Sadler Barbara

rooted in distinctions of social class, according to Wilson (1995) . Before the mid-eighteenth century, upper-class women would be attended by lower-class women who had experience of birthing. Effectively the lower-class women acted as midwives to aristocratic women, but in doing so blurred the social divide. Wilson points out the birth experience had a ‘levelling quality … a tangible reminder that ladies were mere

in Diagnosing history
Representations of mental illness in the period dramas of Steven Knight
Ward Dan

underbelly of Britain’s history so often obfuscated by the heritage tendency in British period drama. While Knight’s stories are conspicuously concerned with addressing the issues of social class, economics, and political intrigue he sees as underrepresented within period drama more broadly, another key theme underpinning several of his most intriguing characterisations is that of mental illness. This features prominently even

in Diagnosing history
Jonathan Bignell

satirises social conventions through stylised exaggeration of behaviour and incident which also alludes to theatrical melodramas of the mid-nineteenth century that addressed problems of social class, gender and morality (Brookes 1985 ). The social climbing of the protagonist Becky Sharp rests on her ability to manipulate emotional and moral conventions and acquire class privilege by using her sexual attractiveness alongside a performance of meek, acquiescent femininity. Rex Tucker's script finds ways of transposing these complex literary and cultural codes for the

in Complexity / simplicity
Abstract only
Byrne Katherine, Taddeo Julie Anne, and Leggott James

. Just as social class dictates how disease spreads and is treated in La Peste , gender dominates the medical narratives in Diana Gabaldon’s time-travelling book series Outlander (1991–) and its current television adaptation. Claire Randall Fraser practices medicine in backdrops where women fought for recognition as bona fide practitioners, as shown in Fogel and Sutherland’s chapter. In settings such as eighteenth-century Jacobin Scotland

in Diagnosing history
Katherine Byrne

occurred within it over its many series. It is unsurprising, given its provenance, that CTM represents unassisted vaginal birth as both the norm and the ideal, but I have tried to argue here that this is not without its issues. As O’Brien Hill argues, most mothers ‘are shown to be heavily invested in both the good mother myth and the ideals of the natural childbirth movement’, irrespective of their background and social class

in Diagnosing history