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Andy Birtwistle

by Cage, Ellitt and Varèse fifty years earlier, the composers’ ideas are perhaps more fully realised in sonic terms by those video scratchers who worked without a continuous music track, simply using the sound of the appropriated footage as a form of musique concrete. In the Duvet Brothers’ 1984 tape War Machine, looped sounds of heavy artillery create the basis of a powerful, unrelenting sonic accompaniment to

in Cinesonica
The War on Terror and the resurgence of hillbilly horror after 9/11
Linnie Blake

thirty years, and one that that references amongst others Night of the Living Dead, Deliverance, The Texas Chainsaw Massacre, Dawn of the Dead, The Hills Have Eyes, Psycho, The Birds (1963), The Evil Dead (1982), Alien, The Exorcist (1973), Cujo (1983) and Donnie Darko (2002). Its most notable influence though is The Crazies, that allegory of Nixon’s involvement in Vietnam I considered in Chapter 3, a film that itself explored the invidious effects of propaganda on the American psyche and underscored the utter ruthlessness of the American war machine in the pursuit of

in The wounds of nations
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Steve Chibnall

began to pile in to the film. Considerations of the cinematic merits of I Aim at the Stars were completely overshadowed by its politics. Whatever his personal beliefs or scientific principles, von Braun’s expertise was thought to have helped to maintain the Nazi regime by enhancing its war machine. 19 Like Peter Burnup, an admirer of Lee Thompson’s cinema, reviewers found the film ‘hard to take’ ( News of the

in J. Lee Thompson
Steve Chibnall

Nazis for their ‘war machine’, from German-occupied Toulouse across the Pyrenees to Spain. The man trying to stop the escape is Gunther von Berkow (Malcolm McDowell), a psychopathic SS captain. If the film is remembered today, it is for the mad-eyed campness of McDowell’s performance. In his rendition of a sadist with a macabre sense of humour, McDowell goes beyond Clockwork Orange’s Alex and seems to be getting into

in J. Lee Thompson
Open Access (free)
Ian Scott and Henry Thompson

/the-2004-campaign-same-sex-marriage-urged-by-right-bush-takes-on-gay-marriages.html (accessed 7 December 2015). 48 Daniel Okrent, ‘The Public Editor: Weapons of Mass Destruction? Or Mass Distraction?’, New York Times (30 May 2004). Available at http://www.nytimes.com/2004/05/30/weekinreview/the-publiceditor-weapons-of-mass-destruction-or-mass-distraction.html (accessed 7 December 2015). 49 Carl Boggs and Tom Pollard, The Hollywood War Machine: US Militarism and Popular Culture (Boulder, CO and London: Paradigm Press, 2007), p. 2. 50 Lou Lumenick, ‘‘Alexander’ the

in The cinema of Oliver Stone
Evidence for supportive coverage and the elite-driven model
Piers Robinson, Peter Goddard, Katy Parry, Craig Murray, and Philip M. Taylor

historical and political context, the uniformity of its supportive presentation in the news media at the time is brought even further into relief. There appears to have been no desire to give emphasis to the more ambiguous elements at work within it. At the time, this image was published to support two interconnected notions about this particular conflict: simultaneously, coalition soldiers are both humanised liberators and part of a militarily effective war machine – interpretations that resonate with the coalition discourses of humanitarianism and good soldiering. In

in Pockets of resistance
Richard Farmer

position and function of popular entertainment in wartime. Consequently, in March 1942, Home Secretary Herbert Morrison told the House of Commons that the government had ‘no intention of imposing needless hindrances to recreations [so that] total war unnecessarily becomes total misery’. But the key word here is ‘­needless’ – the recreation industries were offered no guarantees that business would carry on unaffected by the war. Popular entertainments might be, as Morrison insisted, ‘a lubricant rather than a brake on the war machine’, but that machine needed staffing and

in Cinemas and cinemagoing in wartime Britain, 1939–45
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The Secret Memoirs
Alan Rosenthal

German war machine, and bore no responsibility at all. As I read them I got more and more depressed as far as our films went. I could see nothing that would act as a basis to tell us something revelatory about Eichmann. So why proceed? Because I then rediscovered the Sassen tapes. Actually, I should have remembered them earlier, because a few of the pages had been quoted at the trial, although no one paid them much attention at the time. The sixty-seven tapes, amounting to more than 600 transcript pages, had been made by Willem Sassen, a Dutch journalist and exWaffen

in The documentary diaries
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

unrelenting war machine. That night, under cover of darkness, the two men creep silently into a village and steal a razor, a rifle and some canned food from a house of mourning. With his hands now free, MacConnachie plans to ditch Ansell, split up the provisions and go it alone. Ansell, however, with great foresight, has purloined the can opener, Mac’s only means of access to the food. MacConnachie reluctantly agrees to take the

in Joseph Losey
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Deconstructing existentialism and the counterculture in The Gambler (1974) and Dog Soldiers/ Who’ll Stop the Rain (1978)
Colin Gardner

(which was still legal at the time), psilocybin, mescaline, and amphetamine IT-290. Over a period of several weeks, Kesey ingested these hallucinogens and wrote of his drug-induced experiences for government researchers, thus planting the beginnings of the West Coast counter-culture in the military establishment, which would haunt it throughout its existence. 54 As a result, the war machine controlled the drug culture on the

in Karel Reisz