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Robert Burgoyne

past. In particular, I will focus on the most contested and controversial area of contemporary fiction cinema’s representation of the past – the use of documentary images as a mode of imaginative reconstruction or re-enactment. The shift from documentary images being understood as the trace of the past, as something left behind by a past event, to something available for imaginative and poetic

in Memory and popular film
Outdoor screens and public congregations
Ruth Adams

identity. 25 Spectators in London’s Trafalgar Square view the royal couple’s post-nuptial kiss on the big screen, 2011 (AP Archive). In this chapter I examine British royalty’s relationship with the media, particularly since the advent of television, and review

in The British monarchy on screen
A reply from Saturday Night to Mr. Dienstag
Tracy B. Strong

it. The “remarriage comedies” to which Mr. Cavell draws our attention, and the intention of which you wish to contest, are thus presentations of the achievement of a “meet and happy” marriage. They show us perfected marriage, not in the sense of the best of the best, but in the sense of having become more of a true marriage. There is no Platonic agathon here

in Cinema, democracy and perfectionism
Open Access (free)
Mandy Merck

dress, the participatory dynamic was an immersive experience of the real time and screen space of the royal ceremony, in the process legitimating its public significance. TELEVISION’S CONTESTED HISTORIES Echoing the claim that state ceremonial elevates the prestige of British royalty even as that of Britain declines, David Cannadine maintained in 1978 that while the nation’s ‘television has cut politicians

in The British monarchy on screen
The Pony Express at the Diamond Jubilee
Heidi Kenaga

Roberta Pearson notes in the preceding chapter, this was a much-contested domain during the early decades of the twentieth century, when racial nativist movements sought to control popular expressions of the nation’s primogeniture. Here I take a case-study approach to understanding this process of mediation and negotiation by focusing on the postwar industrial and cultural contexts of The Pony Express

in Memory and popular film
From Vietnam to the war in the Persian Gulf
John Storey

, feel and recognise the past. But these representations do not embody memory as such, they embody the materials for memory; they provide the materials from which ‘collective memory’ can be made. The process is not of course monolithic or uncontested; there is always in circulation and potential contestation both dominant and subordinate memories and traditions and mythologies. It is my claim, however

in Memory and popular film
Basil Glynn

’ in ‘the flat hat with plumes, the medallion and the dagger’. 94 Holbein’s bulky figure, seized upon and developed by numerous productions, perhaps most influentially in The Private Life of Henry VIII , has been forged into the popularly perceived image of the ‘ermine-garbed, overweight monarch with a turkey drumstick in one hand’. 95 It is this semi-comical image that The Tudors contests with

in The British monarchy on screen
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

, is excessively theatrical. It could account for The Philadelphia Story as the play almost as much as the film that it became. That the theatrical spectacle could be a site of moral improvement is of course a highly Enlightened and long-disputed position. If a previous letter writer challenged that view purely with regard to the stage, then it falls to me to contest it with

in Cinema, democracy and perfectionism
Open Access (free)
Ian Scott and Henry Thompson

further nominations, did some of the arguments about violence and media infiltration resonate. By the mid-​1990s, then, Stone was experiencing a kind of brand paradox. His early successes and piercing observations of recent American history had established a bankable brand identity that had been finally able to conceive of Vietnam in a way he wanted to document it, and criticised the consuming greed of the financial system in the manner about which he felt passionately. The controversies over JFK (1991) and Natural Born Killers did not diminish Stone’s standing, but

in The cinema of Oliver Stone