Search results

You are looking at 1 - 6 of 6 items for :

  • Manchester Film Studies x
  • User-accessible content x
Clear All
Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

century when two developments radically changed the conditions and contours of memory in American culture. Modernisation and industrialisation sparked an unprecedented movement of peoples across the globe, while the birth of the cinema and other technological innovations led to the emergence of a truly mass culture. In the context of mass migrations, memory would be required to play a crucial new role

in Memory and popular film
Ian Mackillop and Neil Sinyard

approach, apologetically undertaken) but also as aesthetic artefacts. It would not do to over-state the achievement: after all, it is a period in which directors such as Alberto Cavalcanti, Thorold Dickinson, Carol Reed and Robert Hamer (as Philip Kemp persuasively demonstrates in this collection) for the most part failed to deliver on the promise they had shown in the late 1940s. It is also a period which sees a migration to

in British cinema of the 1950s
Open Access (free)
Yale’s Chronicles of America
Roberta E. Pearson

upon the collapse of a common culture. This elite contention echoed that of the previous century, when Southern and Eastern European immigration, African-American migration to large urban centres and the ‘threat’ of a rapidly expanding industrial working class had led to similar concerns about American culture and identity. These parallel circumstances, vastly different in many respects but alike

in Memory and popular film
Open Access (free)
History, legend and memory in John Sayles’ Lone Star
Neil Campbell

and nation associated with conservative historians and theorists, Sayles allows Sam and Pilar a ‘second life’ as an anti-essentialist identity forged from movements and migrations rather than formed by a single and rooted attachment to one place. 42 The territorialism and essentialism that the film works against is further challenged as their ‘new beginning’ begins with a ‘line of flight’, a Deleuzian

in Memory and popular film
Open Access (free)
The Queen in Australia
Jane Landman

deliberations, it would seem that primary stake-holding ministries in the mid-1950s (Territories, External Affairs and Migration) were quite clear in wanting a film information service department , not one producing art documentary auspiced by an independent board. 36 Such concerns were not purely localised: Grierson complained of a similar diminution in the UK, writing to Hawes that ‘The grand old principle

in The British monarchy on screen
Continuity and change
Erin Bell and Ann Gray

going on. My mum was all excited.’ The inclusion of a Northern Irish voice is intriguing; aside from suggesting that not everyone in the crowds appreciated the spectacle, it demonstrates the migration of people from different parts of the British Isles to London. It also, perhaps, reminds the viewer of the delicate political balance still being maintained in the province. Returning to the gap between 1953 and

in The British monarchy on screen