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Mad City (1997) and The Ax (2005)
Allen H. Redmon

maintain that the ‘only way for organizations to succeed in today's interdependent world is [… by …] operating a business that earns a profit while recognizing and supporting the economic and noneconomic needs of a wide range of stakeholders on whom the organization depends’. 5 Such companies reverse the downward capitalistic spiral Partridge describes by embracing what Fry and Nisiewicz deem conscious capitalism. One can see Costa-Gavras making some of these same appeals in his films over the last quarter-century. Three films in particular, Mad City (1997

in The films of Costa-Gavras
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Author: Susan Hayward

Luc Besson's work, with the exception of his first feature film (Le Dernier Combat) which was liked by almost all those engaged in film criticism, has been acclaimed by the popular film journals (such as Première) and excoriated by the more serious ones (such as Cahiers du Cinéma and Positif). Stylisation and excess are hallmarks of Besson's work. Le Dernier Combat, Besson's first feature, came out in 1983 and Léon in 1994. According to Anne Parillaud and Besson, the message of Nikita and Léon is not one of violence but the idea that people who are full of despair and missing love are not alone. All Besson's films have violence at the core of the narrative. This book presents a broad overview of Besson's work to date and an analysis of his films through a number of theoretical avenues in an attempt to show the many levels on which one can read the narratives. It examines questions of violence, particularly in relation to the so-called youth in crisis, and discusses these issues within the context of surveillance and technology. The book looks at Besson's films as the mise-en-scène of the double cult of technology and commodified capitalism within the context of technology and the body. Display and excess are fundamental aspects of Besson's characters' performance. It investigates the issues of transgressive 'child' and absent parent in Besson's films and is going to do so through the triple-optic of genre and gender construction, regression and pathology, resistance and power relations.

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Author: Douglas Morrey

Jean-Luc Godard enjoyed a comfortable and cultured upbringing, acquiring a literary sensibility that would inflect the whole of his career in the cinema. Godard began to study anthropology at the Sorbonne, but dropped out, and the subsequent decade of his life was spent drifting between various occupations. It is this period of Godard's life in particular that has given rise to speculation, rumour and apocryphal stories. Along with other critics at Cahiers du cinéma, including Truffaut, Rivette, Chabrol and Rohmer, Godard's writing on film in the 1950s played an important role in shaping the canon of great film directors that would influence the development of both French and anglophone film studies. A mixture of playfulness and reverent cinematic homage is to be found in the film language that Godard employs in A bout de souffle. The film became famous for its use of jump-cuts, and it may be difficult for today's viewers, familiar with the ultra-rapid editing of music videos and advertising, to appreciate how disruptive this technique appeared to contemporary spectators. Vivre sa vie, like Le Petit Soldat, appears, in places, to appropriate a kind of existentialist narrative form, only to move beyond it into something much stranger and more troubling. Jean-Luc Godard's Masculin féminin is about young people in Paris in the winter of 1965-1966. Godard in the 1970s is doubtless addressing issues such as the nature of capitalism, and the possibilities for revolt. France tour détour deux enfants is a fascinating glimpse of what television could be.

Open Access (free)
Ian Scott and Henry Thompson

3 Money Introduction In Wall Street:  Money Never Sleeps, the banks have taken over Gekko’s job. I was shocked when I went back to this in 2010. In Wall Street, Gekko had been the outsider, the inside trader guy, the thief, the blackmailer –​and that’s what the banks do now. In the old days the banks would never have done that, it was considered immoral, but by 2010 the whole thing had shifted because of deregulation.1 By the time Wall Street: Money Never Sleeps hit cinemas in September 2010, banking, the financial markets and capitalism in general had all

in The cinema of Oliver Stone
Robin Nelson

broad categories: · economic (notably advanced capitalism) · political (government policies, ideologies) · institutional (corporations, companies, conglomerates, regulators) · aesthetic (compositional traditions in the arts and media) · technological (opportunities and constraints informing both product and its location in a media hierarchy) They play out respectively in estimations of TV drama in such matters as: · prizing the expensive simply because it costs a lot; modes of funding to mobilise product; profit or “not-for-profit”; ratings; advertising revenue

in State of play
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Modes of reading in Marxist-socialist and post-Marxist-socialist Television drama criticism
Geraldine Harris

that as a whole displays the qualities of a postmodern aesthetic, characterised primarily by the suspension of all reference to any reality outside of itself. For Baudrillard, this aesthetic is indeed a new form of realism, or rather ‘hyperrealism’ that reflects and expresses the triumph of the ideology of late postindustrial capitalism and signals the end or death of the social and the political (see Baudrillard, 1988). In this model of reading, viewers are figured in advance as passive consumers of endlessly proliferating, self-reflexive signs or images, which have

in Beyond representation
Martin Barker, Clarissa Smith, and Feona Attwood

enjoy and participate. Dan Hassler-Forest ( 2016b ) explored a range of science fiction and fantasy story-worlds as part of a larger thesis about social transformation, holding that science fiction and fantasy story-worlds must be understood as expressions of the rise of ‘cognitive’ or ‘fantastical’ capitalism and associated with the rise of transmedia production systems, where audiences are involved in doing much of the work building and sustaining media brands. He draws heavily on the arguments of Michael Hardt and Antonio Negri ( 2001 ). ‘The

in Watching Game of Thrones
Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
Susana Loza

slaughtering their human masters. Instead of seeing this as a slave rebellion, Ood Operations treats it as a disease that can be cured through containment. The cruelty of the human colonisers, the thingification of the Ood and the callousness of capitalism is encapsulated in the following exchange between Commander Kess (portrayed by Roger Griffiths), Ood Operations’ head of security (figure 6.5), and Halpen: kess: We’ve contained it, sir. Fenced them in. But the red eye seems to be permanent this time. It’s not fading. Worse than that, sir, there’s more of them going rabid

in Adjusting the contrast
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Der Schwarze Kanal
Frank Engelmann-del Mestre

.… Therefore, the art of doing the right thing correctly and quickly and plausibly is required. In this sense, I will continue my work as communist and journalist to fight for the only alternative to inhumane capitalism: as a weapon in the class struggle to promote and defend my socialist home country.9 (DSK #1519, 30 October 1989: 3) Goddard.indb 170 5/30/2013 1:41:30 PM Agitprop gone wrong: Der Schwarze Kanal  171 His statement alludes to one of Boyer’s (2003: 524) observations, namely that most GDR journalists regarded themselves as Partei­ soldaten (party soldiers

in Popular television in authoritarian Europe