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The revolt of Cairo and Revolutionary violence
Joseph Clarke

uniform.13 It explores how these soldiers calibrated the violence they were called on to commit and how they rationalized it at its worst, in order to understand the experiences that made men like Pierre Boyer cruel. Far from being unambiguously modern in either conception or conduct, the argument here is that these men’s experience of violence represents instead a complex interplay between the politics of the Revolutionary present and the cultural memory of past conflicts. One place to begin teasing out that complexity is, with due deference to Said, Cairo and what one

in A global history of early modern violence
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

, memorialised past is increasingly dependent upon, and recycled within, audiovisual representations such as those found in popular film. My aim is to consider how 1990s Hollywood cinema has activated a selective, revised sense of the past, and how memory approaches to film history are able to analyse this. In particular, I will stress how popular cultural memory is drawn upon as an aesthetic and commercial strategy of Hollywood

in Memory and popular film

By expanding the geographical scope of the history of violence and war, this volume challenges both Western and state-centric narratives of the decline of violence and its relationship to modernity. It highlights instead similarities across early modernity in terms of representations, legitimations, applications of, and motivations for violence. It seeks to integrate methodologies of the study of violence into the history of war, thereby extending the historical significance of both fields of research. Thirteen case studies outline the myriad ways in which large-scale violence was understood and used by states and non-state actors throughout the early modern period across Africa, Asia, the Americas, the Atlantic, and Europe, demonstrating that it was far more complex than would be suggested by simple narratives of conquest and resistance. Moreover, key features of imperial violence apply equally to large-scale violence within societies. As the authors argue, violence was a continuum, ranging from small-scale, local actions to full-blown war. The latter was privileged legally and increasingly associated with states during early modernity, but its legitimacy was frequently contested and many of its violent forms, such as raiding and destruction of buildings and crops, could be found in activities not officially classed as war.

Open Access (free)
Memory and popular film
Paul Grainge

memory as inherently oppositional, Sturken develops a concept of ‘cultural memory’ that is more varied and ambiguous, that lays stress on memory’s production through images, sites, objects and representations, but that neither inherently celebrates nor castigates manifestations of memory in the cultural terrain. Adapting her argument to events in American history and culture, she writes that

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

that cultural memory is textually figured and articulated. I am interested in questions not only of what, but also of how, cultures (in this case, American culture in the late 1990s) remember. Addressing the ‘what’ of media memory requires an engagement with a process that Douglas Kellner has called cultural transcoding. 2 As a type of ideological critique, this describes the

in Memory and popular film
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

‘moments’ throughout history, this chapter asks what these ‘moments’ mean, and why they acquire such force in popular culture and cultural memory. Among these considerations are the issue of national production advertised as quintessentially British in order to be sold abroad and the contradictions between British tradition, the forward-looking drive of the fashion industry and live broadcasting. Also in

in The British monarchy on screen
Open Access (free)
Christina Morin

overlaps between gothic fictions and apparently distinct forms such as the historical novel and the national tale, and positioning the literary gothic not as the disreputable, popular output of hack writers unworthy of cultural memory but as an invaluable body of widely read literature vital to the transnational development of nineteenth-century literature and culture. The aim of this book has been to outline a new model of gothic literary production reflective of these realities without falling prey either to the trap of unnecessarily limiting

in The gothic novel in Ireland, c. 1760–1829
Open Access (free)
Ontologies of connection, reconstruction of memory
Jeremy C.A. Smith

Pacific. The Pacific’s absence from contemporary civilisational analysis continues in a scenario in which critical scholarship on the Pacific has grown.Through exchanges between historians, artists, novelists, sociologists, activists and archaeologists from the region and counterparts from elsewhere (known as ‘outlanders’), debates about post-​colonial conditions have produced new insights, helped to foster cultural memory and islander identities and languages, generated different methods and shaped new practices (Borofsky, 2000). Furthermore, the expansion of knowledge

in Debating civilisations
Robert Burgoyne

and to the archive of collective cultural memories’. 8 Defining the concept of prosthetic memory as ‘memories that circulate publicly, that are not organically based, but that are nonetheless experienced with one’s own body – by means of a wide range of cultural technologies’, 9 Landsberg argues that prosthetic memories, especially those afforded by the cinema, ‘become part of one’s personal archive

in Memory and popular film
Open Access (free)
David M. Turner and Daniel Blackie

200 DISABILITY IN THE INDUSTRIAL REVOLUTION CONCLUSION The Industrial Revolution produced injury, illness and disablement on a large scale and nowhere was this more visible than in coalmining. While the loss of lives in large-scale mining disasters is still commemorated today, and forms part of the cultural memory of coalmining in areas where pits have long since closed down, there are no memorials to the many thousands who were disabled in the industry.1 Yet the experiences of those whose bones were broken, whose bodies were crushed, ‘lamed’ or maimed, or

in Disability in the Industrial Revolution