Search results

You are looking at 1 - 10 of 919 items for :

  • "Discourse" x
  • Manchester Film and Media Studies x
  • All content x
Clear All
Jane Roscoe and Craig Hight

Mock-documentary is a ‘fact-fictional’ form which has a close relationship to both drama and documentary. It not only uses documentary codes and conventions but constructs a particular relationship with the discourse of factuality. This chapter outlines some of the key issues for our analysis and discussion of this relationship which mock-documentary texts build with documentary and factuality

in Faking it
Martin Barker, Clarissa Smith, and Feona Attwood

books and films. In the Alien memories project (Barker et al ., 2015 ), the different age-classifications of the film could clearly have an impact on its availability to various age-groups, and the challenges that they might have to overcome to get a sight of it – as could the circulation of various kinds of associated merchandise and other paratexts. Whatever the complications and challenges, the declared goal was to generate a richly structured combination of data and discourses . The crucial tests of the method's usefulness would be twofold

in Watching Game of Thrones
Celestino Deleyto

an absolute quality ( 2005 : 9). Similarly, Yannis Tzioumakis argues that the distinction between independent and mainstream filmmaking is ultimately impossible to make both in terms of economics and aesthetics, and suggests that the term ‘American independent cinema’ is best understood as a discourse which is constructed indistinctly by filmmakers, producers, trade publications, academics and film critics, an object of

in The secret life of romantic comedy
Nigel Mather

of this period – Till Death Us Do Part (1965–75) and Love Thy Neighbour (1972–76) – both of which raise questions about the ethics of generating comedy through depictions of racist attitudes, actions and discourses. The question of whether ‘race relations’ can ever be considered a ‘laughing matter’ will be examined. Are these particular 1960s and 1970s situation comedies now no longer either funny or acceptable

in Tears of laughter
Abstract only
The American culture of gun violence in Westerns and the law
Author: Justin A. Joyce

Gunslinging justice explores American Westerns in a variety of media alongside the historical development of the American legal system to argue that Western shootouts are less overtly ‘anti-law’ than has been previously assumed. While the genre’s climactic shootouts may look like a putatively masculine opposition to the codified and mediated American legal system, this gun violence is actually enshrined in the development of American laws regulating self-defense and gun possession. The climactic gun violence and stylized revenge drama of seminal Western texts then, seeks not to oppose ‘the law,’ but rather to expand its scope. The book’s interdisciplinary approach, which seeks to historicize and contextualize the iconographic tropes of the genre and its associated discourses across varied cultural and social forms, breaks from psychoanalytic perspectives which have long dominated studies of film and legal discourse and occluded historical contingencies integral to the work cultural forms do in the world. From nineteenth-century texts like Cooper’s The Last of the Mohicans (1826) and Reconstruction-era dime novels, through early twentieth-century works like The Virginian, to classic Westerns and more recent films like Unforgiven (1992), this book looks to the intersections between American law and various media that have enabled a cultural, social, and political acceptance of defensive gun violence that is still with us today.

Abstract only
Author: Sue Harris

Whether one 'likes' his work or not, Bertrand Blier is undisputably an important and influential presence in modern French film-making. For those who would understand the nature and function of popular French culture, it has now become impossible to ignore his work. Blier's career began in 1957 as an assistant stagiaire, as it was still relatively conventional in the French film-making tradition. This book hopes to be able to start formulating some answers to the puzzle that is Blier's work. The aim is to identify strategies for finding one's way through a body of work, which has disconcerted spectators, to identify some reference points that the curious spectator can use as a map to navigate through Blier's preferred themes and stylistic techniques. One way of understanding the system of dramatic cohesion that unifies the action of Blier's films is to read it in terms of an 'absurdist' conception. The comic momentum of Blier's films relies on the elaboration of a system of images which might be termed 'festive-ludic' or 'anarchocomic'. His deliberate attempt to go beyond the conventional limits of gender representation is as important example of the many processes of narrative subversion. Discussions reveal that the key tropes around which Blier's work is structured point to an engagement with a tradition of popular discourse, translated into both content and form, which finds an echo in the wider cultural apparatus of the post-1968 period and which is all the more significant for its location in mainstream visual culture.

Abstract only
Dave Rolinson

from government policy of abandoning public service broadcasting to market forces’. In effect, the Thatcherite discourses which Clarke documented ultimately silenced the kind of drama with which he was associated; as David Hare (2002) wrote, the television play ‘was first vandalised and then purposely eliminated by post-modernist hooligans at the BBC, who robbed public service television of … the most effective argument it had for the licence fee’. Given the lifechanging power of Penda’s Fen, and the elegiac tone of critics’ comments on it in Chapter 1, it is

in Alan Clarke
Abstract only
Dave Rolinson

, resulting in Trevor’s verbal pyrotechnics, or the heartbreaking search for articulacy in Road. Voices are not simply the means by which their identity is expressed; they are synonymous with that identity, and the struggle of characters to be heard by a society that does not want to listen constitutes a struggle to exist. As I argue of The Love-Girl and the Innocent (1973), Clarke explores landscapes of private histories silenced by public narratives. He portrays characters resisting the ‘discourses’ of the state, whilst simultaneously avoiding imposing a discourse upon

in Alan Clarke
John Corner

transfer to the newer modes of production and display?4 I want to pursue some of these questions by looking at examples of recent high-profile ‘public photography’ and exploring how digital applications have worked to thicken and extend the exchange of 212 PART TWO(2) viewer’s critical discourse around the still image at the same time as providing photographers with a new platform for displaying their images and for telling stories about them and about the contexts of their taking. Images have thus become more thickly ‘narrated’ both by those who produce them and

in Theorising Media
Dave Rolinson

s, particularly the discourses of Thatcherism. Indeed, as John Hill (1999: xi) argued of British cinema, given the pervasive influence of the Thatcherite project, it becomes ‘impossible’ to discuss British television drama in the 1980s ‘without taking some account of how it was engaged in an ongoing dialogue with Thatcherite ideas, meanings, and values’. However, in the post-Scum television climate, maintaining such a ‘dialogue’ was becoming more difficult, as Bignell, Lacey and Macmurraugh-Kavanagh (2000: 1) observed: ‘it is no coincidence that the single play

in Alan Clarke