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filmic techniques they frequently show, for instance, anachronisms, time stoppages, time travel and cyclical time. In this introduction we will trace the special relationship to temporality that characterises medieval film to its roots in the overlap of medievalism, film history and film theory. Though frequently not taken seriously by film scholars or medievalists, medieval films are pivotal in challenging both
Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.
Introduction In the United Kingdom the 1980s were characterised by the avaricious individualism of the Thatcherite agenda, which dismantled the industrial economy on which the nation’s class-based and regionally-distinctive culture had historically rested, promoted narcissistic consumerism as acme of human aspiration through wholesale valorisation of the cultural products of American capitalism and turned to military action in the Falklands and the Gulf as a means of ensuring electoral victory and cementing the much-vaunted ‘special relationship’ with the United
with our own national allegiances bitingly reveals the satirical connection between Veep 's use of schadenfreude (literally German for ‘harm joy’) and its contrasting duality. ‘Special Relationship’ One moment in Veep which most impressively toys with the tensions inherent in schadenfreude occurs in ‘Special Relationship’ (Season 3, Episode 7). The episode begins with Selina and her campaign team in London, where they are gathered ostensibly to commemorate fallen soldiers from the First World War, although, in fact, Selina
the leading protagonists in the Golzow saga. Jürgen, whom the Junges had known since he was a child of seven, was terminally ill with cancer and indeed died a few weeks later, still only in his early fifties. This had clearly been a difficult visit for the Junges, but hearing them talk so movingly about Jürgen and his contribution to the Golzow films was a poignant reminder of the very special relationship that can develop between filmmakers and their subjects in this type of work. Participants in such long-stay projects become in a very real sense members of the
’. She suggests that national identity, and national culture, is formed out of an accumulation of regional identities and cultures: ‘The English define their identity from their village, town or city. It is the sum of those cultural experiences which amalgamate COOKE PRINT.indd 5 05/07/2012 13:36 6 A Sense of Place and coalesce into a national culture’ (Hobson, 2002: 35). Hobson did, however, agree with Davies and Sylvia Harvey that: ‘Broadcasters must recognise their special relationship to our sense of community and national identity. One of the most effective
: University of Chicago Press, 2008 ), pp. 87–177; Andrew Campbell, Unlikely Allies. Britain, America and the Victorian Origins of the Special Relationship (London: Hambledon Continuum, 2007 ), p. 240. 36 The Times (17 October 1937). 37 Jeffery Richards
. What home audiences might have been responding to in these films was a proud but restrained Englishness that made a welcome contrast to American brashness. (There is a separate book to be written about the depiction of Americans in British films of that time: some way from a special relationship.) In any case, is it not an oversimplifiation to recall the service portrayal of, say, Jack Hawkins, Richard Todd and Kenneth More
the Deansgate Picture House and café, was built for the Alliance Cinematographic Company. 49 Samuelson used his special relationship with Sixty Years a Queen to introduce a new form of distribution that had been successful for the high-investment film in the USA, but which had not yet been seen in Britain – the road show. Adolph Zukor had toured Queen Elizabeth ( Les Amours de la Reine Elisabeth
runs towards the camera and moves further away from the train and as he grows bigger in the frame we come to understand the special relationship that exists between the film’s themes and its construction. The camera here has remained behind and its position welcomes Billy back to the reality of his world. As it does so, the illusory nature of Billy’s ambitions comes sharply into focus. Despite the calls continually made within the film for upheavals and movements that require Billy to make major changes to his life, the film actually constructs an alternative view of