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Parvati Nair and Julián Daniel Gutiérrez-Albilla

Part II Culture and conflict According to Edward Said, ‘culture is sort of a theatre where various political and ideological causes engage one another. Far from being a placid realm of Apollonian gentility, culture can even be a battleground on which causes expose themselves to the light of day and contend with one another’ (Said, in Edwards, 1999 : 249). This quotation from Said shows how culture

in Hispanic and Lusophone women filmmakers
Martin Barker, Clarissa Smith, and Feona Attwood

Game of Thrones has been beset with controversies since its early seasons. Its sexual explicitness, various deviations from Martin's books, shock moments (especially for those who did not know the books), physical threats and conflicts (from individual acts of cruelty to battle scenes), the way that particular peoples and cultures were presented, and so on, have all generated wide and very public debates. These were reflected in many comments that we received, particularly in answers to Questions 15 and 16, which asked

in Watching Game of Thrones
Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987)
Sally Dux

Race, nation and conflict: Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987) 5 The 1980s marked the apotheosis of Richard Attenborough’s directorial career in which he fulfilled his twenty-year ambition of realising a film on the life of Mahatma Gandhi. As well as being a personal achievement for Attenborough, Gandhi represented a key moment for the British film industry through its success at the box office and led to national pride by winning eight of the eleven Academy Awards for which it was nominated, the greatest acclaim to that date for a

in Richard Attenborough
Guy Austin

judged it to be empty of political analysis and hence ‘revolting’ (Godard 1991 : 139). Certain critics have subsequently attacked Le Chagrin et la pitié as ‘politically vacuous’, and for ignoring the role of the Catholic Church within Vichy (see Avisar 1988 : 19). Nevertheless, the film does engage with the internal conflicts of the Resistance, illustrating the rupture between Catholic and Communist elements

in Contemporary French cinema
Open Access (free)
Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Jokes, racism and Black and Asian voices in British comedy television
Gavin Schaffer

-racism, sitcoms of this kind reinforced racial difference and held up multiculturalism as a field of conflict, where it was normal to highlight race at every turn.34 As one journalist commented of Love thy Neighbour, ‘The adage about destroying prejudice by laughter seems to be translated here as attempting to say “Nig nog” as many times as possible.’35 Where Black and Asian actors were not altogether excluded from these programmes, they were faced with two choices, either to go along with the jokes as they stood, or refuse to take badly needed parts. While it would be

in Adjusting the contrast
The BBC and national identity in Scotland
Thomas Hajkowski

more romantic strain of Scottish nationalism found inspiration in “tartanry,” an eighteenth-century invention that conflated authentic Scottish culture with the pre-industrial lifestyle of the Highlands.9 And, of course, Scottish national identity draws strength from Scotland’s long history as an independent nation, a nation often engaged in conflicts with its neighbor to the south. William Wallace, Robert the Bruce, and Mary Queen of Scots, all, at different times and in different ways, symbolized Scottish nationhood. Jacobitism also could be used as a focal point

in The BBC and national identity in Britain, 1922–53
How audiences engage with dark television

The eight-season-long HBO television adaptation of George R. R. Martin’s Game of Thrones was an international sensation, generating intense debates and controversies in many spheres. In 2016–17, an international research project gathered more than 10,000 responses to a complex online survey, in which people told of their feelings and judgements towards the series. The project was an ambitious attempt to explore the role that ‘fantasy’ plays in contemporary society. This book presents the project’s major outcomes. It explores people’s choices of favourite characters and survivors. It looks at the way modern works of fantasy relate to people’s sense of their own world, and what is happening to it. It explores the way that particular televisual decisions have generated controversies, most notably in relation to presentations of nudity, sex and sexual violence. The book uses the project’s distinctive methodology to draw out seven ways in which audiences watched the series, and shows how these lead to different responses and judgements. Notably, it leads to a reconsideration of the idea of ‘lurking’ as a problematic way of participating. A pair of complex emotions – relish and anguish – is used to make sense of the different ways that audiences engaged with the ongoing TV show. The book closes with an examination of the debates over the final season, and the ways in which audiences demanded ‘deserved’ endings for all the characters, and for themselves as fans.

Romantic attractions and queer dilemmas (Queer as Folk)
Geraldine Harris

Billingham asserts, that ‘no such homogenous grouping actually exists’ (185). Yet, for Billingham, Queer as Folk did have an agenda and one very much for the gay and lesbian community, in so far as he suggests it ‘enacts a struggle within the between the liberal/left strategy of disciplined resistance leading towards equality and assimilation, and the confrontational postmodern queer discourse of ‘We’re queer were here and were not going away’ (185). I would argue that it also enacts the conflicts and contradictions within as well as between these positions, as I rehearsed

in Beyond representation
Abstract only
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.