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Mel Bunce

. There was just one problem: the video wasn’t real. It was the creation of 34-year-old director Lars Klevberg, and it was filmed in Malta with child actors, using a set from the movie Gladiator . Klevberg said he wanted the video to start a conversation about the impact of war on children. Critics said he had gone too far: that the video created confusion and cynicism, which undermined attempts to address conflict in Syria ( Salyer, 2014 ). ‘Syrian hero boy’ was not an isolated incident. When audiences look online for information about humanitarian

Journal of Humanitarian Affairs
Open Access (free)
Ian Scott and Henry Thompson

up as activism. Each of his films has been a piece of crafted drama with a range of distinctive attributes related to narrative and photography, acting as a baseline for Stone’s auteur brand. However, what is striking in the second period of his career is the way in which those core elements of the auteur brand did not merely become retroactive career artefacts for a media narrative that views his auteur heyday as belonging to the past. Instead, Stone’s auteurism acted as a platform for a political discourse that retained as much urgency and purpose as films such

in The cinema of Oliver Stone
Open Access (free)
Memory and identity in Marie Redonnet’s fiction of the 1990s
Aine Smith

, or, at the very least, of elaborating a fuller, more cohesive and enduring sense of self than that which originally exists. This, as will be seen, is because of its ability to preserve, and even to produce memory. Memory and identity in Redonnet’s fiction  The range and diversity of creative acts carried out by the characters is, at times, bewildering, but certain forms crop up again and again. In Candy story and Villa Rosa, (self-)portraiture is a common pursuit, whilst photography, and its correlative of film-making, feature in the texts Rose Mélie Rose, Candy

in Women’s writing in contemporary France
Open Access (free)
Lorenzo Ferrarini and Nicola Scaldaferri

Gibson ( 2004 ) and Ben-Hur by Timur Bekmambetov ( 2016 ) to name but two, which in turn generated film-related tourism and urban development (Ferrari 2016 ). In sum, it is interesting to point out that the overlap between anthropological themes and creative practice was a feature of the best-known body of research on the area as far back as the 1950s (Schäuble 2019 ). The role of audiovisual media – especially photography, documentary or neorealist fiction films, and field recordings – was and is fundamental in amplifying and propagating those ideas, which

in Sonic ethnography
Editor: Mandy Merck

Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. These contributors include Ian Christie, Elisabeth Bronfen, Andrew Higson, Steven Fielding, Karen Lury, Glyn Davis, Ann Gray, Jane Landman, Victoria Duckett, Jude Cowan Montague, James Downs, Barbara Straumann, Deirdre Gilfedder, Jo Stephenson, Ruth Adams, Erin Bell, Basil Glynn and Nicola Rehling.

Queen Victoria, photography and film at the fin de siècle
Ian Christie

the moment from an early stage, and visited the Alhambra Music Hall in June 1896 to see what had become the first major success of British ‘animated photography’: Robert Paul’s film of the Derby, won by the Prince’s horse, Persimmon. Having filmed the finish of the race at Epsom, when an enthusiastic crowd surged onto the course, Paul hurried back to London to develop and print the film, which he was

in The British monarchy on screen
Sarah Easen

May issues of Monthly Film Bulletin and Sight and Sound thought it a ‘notable film’. The former added that it was made with a range and technical finish rare in present-day documentary while the latter praised its eloquent photography, the richness of texture in the music and the care and complexity of the editing. Humphrey Jennings’s contribution, the quietly patriotic

in British cinema of the 1950s
Open Access (free)
Tania Anne Woloshyn

control or management of this powerful actinic light was only further emphasised and validated by the fact that the photograph of the therapeutic process was equally in control of that light. Because of what it is and what it represents, Figure 3.1 offers itself as evidence of both phototherapy and photography skilfully controlling the ‘injurious’ light rays that quickly blinded eyes and burnt skin and film

in Soaking up the rays
Open Access (free)
Digital photography and cartography in Wolfgang Weileder’s Atlas
Rachel Wells

5 ‘Space-crossed time’: digital photography and cartography in Wolfgang Weileder’s Atlas1 Rachel Wells The places we have known do not belong only to the world of space on which we map them for our own convenience. They were only a thin slice, held between the contiguous impressions that composed our life at that time; the memory of a particular image is but regret for a particular moment; and houses, roads, avenues are as ­fugitive, alas, as the years. (Proust, 2002: 513) The creation of an ‘Atlas’ is an ambitious project. The word suggests accuracy in detail

in Time for mapping
Recent films of David and Judith MacDougall
Paul Henley

miles by road north of New Delhi, which was a so-called ‘hill station’ at time of the British Raj, where the families of colonial administrators would take refuge from the summer heat. Today it continues to be a holiday destination, but for middle-class Indian families. The subtitle of the film is ‘an encounter with photography’, but in fact, the subject matter of the film would be more accurately described in the plural, as it consists of a series of encounters exploring the meaning of photography for a diverse range of both practitioners and consumers in Mussoorie

in Beyond observation