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made it something of a museum piece. With ‘Sympathy For the Devil’ ruled out, Gilliam chose to begin the film surprisingly with Rodgers and Hammerstein’s ‘My Favourite Things’ from The Sound of Music , sung dreamily by the relentlessly wholesome Lennon Sisters, the songbirds of conservative American culture. Television news footage plays over this saccharine rendition, shots of military helicopters

in Terry Gilliam
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Jonathan Rayner

unless, as the representation of Australian subjugation under colonial authority in films depicting educational, military and religious control suggests, defeatism and the surrendering of self-determination is itself a communal characteristic. This pessimistic estimation of human potential flows over from films set in the past to narratives portraying the endeavours of male individuals and groups (the ‘male ensemble’ films), many of which also adopt the characteristics of the AFC genre. Poised between the qualified heroics of

in Contemporary Australian cinema
Australian films in the 1990s
Jonathan Rayner

unreciprocated love, and she believes that discovering his whereabouts will give her life a purpose. At work she meets a range of characters similarly adrift, waiting for the threatened cuts in the postal service which will mean the closure of the Office. The only source of motivation within the Office’s futile activity is its manager Frank (George Delhoyo), a Chilean immigrant whose family was destroyed during the military dictatorship. His emigration to Australia was unplanned, and his avoidance of other refugees leaves him

in Contemporary Australian cinema
The French Revolution, the past and Ann Radcliffe’s The Romance of the Forest (1791)

bleak existence in declining institutions (McManners 1969 , 34). Within just a few short years, church buildings would be taken over for military use and bells, railings and grilles would be dragged away and melted down for armaments (93). Indeed, as Burke’s epigraph to this chapter intimates, France was becoming peppered with ruined buildings, defunct convents and abandoned monasteries in the early

in Sinister histories
William Godwin, Mary Wollstonecraft and the perils of the present

context of the Loyalist Gothic and the French Revolution. 4 As Watt notes, during the conflict with France, such tales refashioned the self-image of England and ‘led to the “historical” category of Gothic being purged of its associations with either democracy or frivolity and defined increasingly in terms of a proud military heritage’ ( 1999 , 44). Castles are central to many of these works and, rather

in Sinister histories

original motivations for the real Grimm brothers was a form of cultural nationalism, so that the tales were meant to represent and transmit something quintessentially German. To collect the tales, then, was an act of cultural preservation. In the context of French domination, the film suggests that such nationalism is a form of resistance, a challenge to French military and cultural power. The French pride

in Terry Gilliam