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Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
Susana Loza

’s emergence from – and ongoing entanglement with – imperialism means that it not only performs the dreamwork of empire but also produces rich imaginative possibilities for empire’s antithesis’.57 While the Ood episodes testify to how the reincarnation of Doctor Who performs the dreamwork of multiracial white supremacist neo-liberal empire, I hold out hope that a popular science fiction television programme might some day reshape how we remember British imperialism and perhaps even remind us why there can be no racial reconciliation without reparations for the sins of

in Adjusting the contrast
Open Access (free)
Ian Scott and Henry Thompson

theme, Stone and Kuznick argued that the USA was transformed by its financing of France and England during the Second World War from a debtor nation to a creditor: one that, C or po ration s in the aftermath of the war, had been changed radically. On Stone’s own evidence the picture is a complicated one. McKinley’s 1900 re-​election had demonstrated a popular appetite for an expansionist agenda, but there can be little doubt that the channelling of German war reparations back to US finance houses after the First World War played its part in the financial and

in The cinema of Oliver Stone
Abstract only
El espinazo del Diablo/The Devil’s Backbone
David Archibald

representation.’ Here it is worth recounting del Toro’s own assertion that he is interested in a spiritual retelling of the event, not a realistic documenting of the event. Labanyi suggests that ‘In a country that has emerged from forty years of cultural repression, the task of making reparation to the ghosts of the past – that is, to those relegated to the status of the living dead, denied voice and memory – is considerable.’ (2008: 80) Arguably, these reparations will not only be paid through history books or political legislation: cinema can also play an important part in

in The war that won't die
Mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
Isolina Ballesteros

’ (Art. 3.2) and recognises the right to obtain a ‘Declaration of reparation and personal recognition’ (Art. 4.1), the Law also explicitly states that although this Declaration will be compatible with the reparations already contemplated, it ‘does not represent grounds for the recognition of the capital liability of the State nor of any Public Administration, nor will it produce any redress or

in Hispanic and Lusophone women filmmakers
Martin O’Shaughnessy

the world. Before the revolution, Haiti, then named SainteDomingue, was France’s richest colony. After the revolution, supported by an American trade embargo, France imposed such a level of reparations on its ex-colony that Haiti was in debt to the ‘mother’ country until 1947. It was far too important an example to be allowed to prosper (Hallward, 2004). Laferrière’s engagement with this history is typically subversive. Cantet cannot bring it into his adaptation. He does however take up another historical reference from the book, this time when, in his voice

in Laurent Cantet