Search results

You are looking at 1 - 5 of 5 items for :

  • Film, Media and Music x
  • Refine by access: User-accessible content x
Clear All
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

the film, being far more intense than the nominal love interest. The heroine, a waifish East European refugee, hangs around imploring Davidson to let her stay, but Hamer’s impatience with this pallid and underwritten figure is palpable. The action’s also saddled with a deus ex machina , a creakingly symbolic tramp borrowed from Les Portes de la nuit (Carné and Prévert’s last and weakest film

in British cinema of the 1950s
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

sexuality of both Burton’s Jimmy and Gary Raymond’s Cliff. The latter is a ‘cuddly bear’ of a character in the play, whose friendship with Alison is non-sexual. In Richardson’s film, he is more recognisably a late 1950s/early 1960s type, a single, sexually active (and sexually attractive) refugee from the provinces (Wales), who has pictures of women on his bedroom walls and boasts of his sexual

in British cinema of the 1950s
Open Access (free)
Dana Mills

, together with Van Aken’s analysis and especially Rowe’s political history of the dabke, shows that the dance has a distinct cultural history within Palestine and unique choreographic characteristics, its own system of inscription. Van Aken notes that the dabke remains a crucial site for local public expression and contestation by young refugees. At the same time, this clip reveals the sic-​sensuous that dabke enables its participants to experience choreographically and politically. The dancers wear the Palestinian flag as part of their costume. This is a sharp and

in Dance and politics
Paul Henley

of Kurdistan , directed by Brian Moser, was about the ecstatic Qaderi Dervish cult in a village of refugee Iraqi Kurds living just over the border in Iran. The consultant anthropologist on the first film was the Sri Lankan anthropologist Gananath Obeyesekere, while on the second film, unusually, there were two consultants, André Singer and the Iranian anthropologist Ali Bulookbashi, both of whom had recently completed postgraduate degrees in social anthropology at Oxford. In neither of these films was the principal

in Beyond observation
James Downs

busy with making ‘propaganda films ’ 43 (author’s italics) and there may have been other contributions that he made to the British war effort in addition to the substantial financial assistance he gave to the Red Cross and the Association for Jewish Refugees. Changing attitudes to Germany are evident between the two films, but it is more subtle than Vansittart’s later belligerence might suggest. The

in The British monarchy on screen