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fact whilst paying its chief respects to fiction. Put more simply, what is presented as fact is, in fact, fiction.’ 71 27 Henry VIII (Jonathan Rhys Meyers) as a ‘punk-rock’ ruler in The Tudors (Showtime, 2007–10). The disregard for historical veracity in Hirst

in The British monarchy on screen
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Street and theatre at the end of Fordism

relocation, inextricably linked to changes in work and labour. Bivouac begins with the appearance of eighteen performers wearing light grey suits and caked in heavy blue pigment. The make-up has dried to a bright cerulean on the performers’ exposed skin but remains a wet, dark cobalt in their hair. The gloppy substance glues their coiffures into sticky mohawks and other punk formations. Most of the performers have paired their suit jackets with short trousers that extend just past the knee; their lower legs are smeared with the same shocking blue. They wear heavy duty work

in Street theatre and the production of postindustrial space
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Robert Hamer after Ealing

opponent – with the added barb that, this time round, the gay element is displaced on to the baddies. Boyd, a suave, menacing figure, sports a fancy waistcoat, a flower in his button hole and a cockney-genteel accent. His boyfriend doubles as chauffeur and receptionist, a punk-ish youth slouched in a booth leafing through male-physique magazines. The negative attraction between Davidson and Boyd skews

in British cinema of the 1950s
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belts, chokers and spiky hair – energetic punk matelot twins. They are smiling, as are arguably nearly half their peers. A further six or seven look nervous, uncertain or quizzical, while one is desperately glum and a couple downright annoyed. A single volte-face head Nothings in particular 95 reflects the equivocal nature of the group as a whole, summing them up in a Siamese physiognomy of comedy and tragedy: one face smiles breezily, but remains bracketed irrevocably with its partner, stiffly down-in-the-mouth. Only a fifth or so of mouths are shown open, and an

in Beckett and nothing
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Emotion, affect and the meaning of activism

in general was barely referenced by respondents in this study. Ian posted YouTube clips of the Swedish singer Saga (known to many for her Skrewdriver tributes) to his Facebook page, but when challenged about this (since he rejected white supremacism), he claimed to like the songs but not the ideas behind them (field diary, 18 May 2013). Other respondents dismissed what they called such 194 Loud and proud: passion and politics in the EDL 7.6  Symbolic violence in protest ‘Nazi music’ (Lisa) and expressed preferences for punk or ska music. Rachel attended a local

in Loud and proud
The ambivalence of queer visibility in audio- visual archives

Railways on Film and Punk to Black Britain, Chinese Britain on Film and LGBT Britain. More than thirty films can be found in the free collection LGBT Britain, but the label is also used within the VOD and S-​ VOD sections. Arguing that national archives could learn from queer minor archives, I will draw comparisons to the archival practice of the Lesbian Home Movie Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg (Brunow, 2015). The term ‘minor archives’, drawing on the

in The power of vulnerability
On last animals and future bison

accord it would seem, to relocate to ‘Soul City’), as if these were the real ecotopian values. There are apparently no problems with any biological hazards such as invasive species, extinctions, pathogens or large-scale, confined animal industries, since ecology has been preset for steady-as-she-goes. Despite the celebration of the unwashed, waste-free hippy lifestyle as the greatest good, Ecotopia turns out to be way too clean, managed, heteronormative, pain-free and quiet (no electric guitars, please, and God help us from our unwashed rivals, the punks) to have to

in Literature and sustainability

form of mass entertainment, like punk, rock and roll, and the novel before it, the computer game has been seen as offering some sort of threat to society, particularly by providing a space in which otherwise taboo or outlawed behaviour (spitting and swearing, the sexual expression of pelvic gyration, adultery, and aggression as the first resort in problem solving) is given free range. But the confusion of game for real is indicative of individual dysfunction and ‘misreading’ just as much as the confusion of the films A Clockwork Orange (1971) or Natural-Born Killers

in More than a game
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How anarchism still matters

-profile radical folk/punk bands such as Chumbawamba, The Levellers and Rage Against the Machine has been evident, all of whom have campaigned against legislation such as the Criminal Justice and Public Order Act of 1994 and the Terrorism Act of 2000. As Allan Antliff has recently noted (2003), anarchist street art, video work and comics such as World War 3 have, in various North American settings, managed to blur some of the existing boundaries between ‘culture’ as passive and culture as politically proactive. Such forms can, if allowed to flourish, revisit the kind of

in Changing anarchism
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(Showtime, 2007–10) with a loose pretext for a dramatic update in screen persona, exchanging the ageing fatty in the feathered hat for a punk potentate with pectorals. Chronicling the long history of Henry films, Basil Glynn charts the international appeal of an English monarch impervious to the English virtue of ‘fair play’. The Tudors ’ abiding allure of murder and multiple marriages, as enacted by a multi-national cast against

in The British monarchy on screen