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Parvati Nair and Julián Daniel Gutiérrez-Albilla

? – the making of fiction in order to be coherent and cohesive. Both can therefore be rewritten. Yet, most will agree that the narratives of history have been repeatedly used to commemorate and consolidate a fixed and authoritative vision of the past in order to perpetuate set ideological schemes. Memory, on the other hand, has too often been relegated to the realm of the private or the subjective, whereby it becomes politically

in Hispanic and Lusophone women filmmakers
James Chapman

writers whose contributions had a significant bearing on the politics of the series.1 The semi-American parentage of The Adventures of Robin Hood, moreover, raises important questions about the economic and cultural capital of this representation of perhaps the most quintessentially English of all popular folk heroes. The political economy of The Adventures of Robin Hood Steve Neale has argued that The Adventures of Robin Hood ‘was transnational in origin and appeal and in financial and institutional terms from the very outset’.2 In order to contextualise the series it

in Swashbucklers
Guy Austin

was common currency in the nineties and was widely used by Jacques Chirac during his successful presidential campaign of 1995 (see Higbee 2005 : 123). That year also saw a big rise in support for Jean-Marie Le Pen’s far right party, the Front National, signalling the presence of anxieties around race, immigration, and sécurité in French politics. As a corollary to this came a wave of militant protest: ‘it was the mass

in Contemporary French cinema
Jonathan Driskell

transcendent world of poetry and metaphysics. These opposites have implications for a number of aspects of his cinema: they have formal and stylistic implications, with the social tendency being articulated through his use of realist cinematic devices, and the fantastic dimension being expressed through his capacity to create film ‘poetry’. They inform his explorations of political concerns, with some films engaging with social

in Marcel Carné
Abstract only
James Chapman

background of factional strife in seventeenth-century France and focuses on the efforts of the Musketeers to thwart the political ambitions of a machiavellian Cardinal Richelieu (Peter Capaldi). The Musketeers was ‘created and written by Adrian Hodges’ and was first touted as early as 2007 as a possible alternative to Robin Hood in the Saturday-evening family drama slot. In the event it was scheduled in a post-watershed Sunday 9 p.m. slot, which allowed the series to include slightly more adult content in terms of sex and violence. This, it might be said, is consistent

in Swashbucklers
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Coline Serreau and politics (1972–96)
Brigitte Rollet

Coline Serreau’s work on stage and on big or small screens was (and still is) strongly influenced by the political mood which succeeded May ’68 in France. Her debut was clearly motivated by the sense of deep changes French women felt at the time. Although she did not actually join any of the various women’s groups and movements, the films she made in the 1970s reflect most of their concerns. From the 1970s onwards, she has remained faithful to her initial beliefs, even if the changes within French society in the past

in Coline Serreau
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Wickham Clayton

Vander Stichele and Todd Penner identify the relevance of the contemporary socio-political climate in the USA: Aside from the deep-rooted and longstanding traditions of American identity that circumscribe the debates swirling around The Passion , the current climate of the war on terror and the broader mindset of an America still reeling from the shock of 9/11 deserve to be given a more central role in framing the analysis of Gibson, his film, his audience(s), and his critics. ( 2006 : 35) Indeed, the significance of 9/11 for American culture had an immediate

in The Bible onscreen in the new millennium
The portrayal of tattoos in Sarah Hall’s The electric Michelangelo and Alan Kent’s Voodoo pilchard
Hywel Dix

INTRODUCTION In an important early study of crime fiction, Dennis Porter suggested that a significant split took place during the nineteenth century between novels that had both a social orientation and a political commitment, and those which were more inward looking, concerned with aesthetic style and sensibility rather than with using fiction as a form of social criticism. 1 By the end of the nineteenth century, the aesthetic crime novel had become dominant over the crime novel of social commitment, so that

in Tattoos in crime and detective narratives
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The symbolics of space in the cinema of Robert Guédiguian
James S. Williams

major human loci of Guédiguian’s cinema are all directly physical, in the form of social and communal activities like drinking, eating, working and fighting. Yet for Guédiguian there is always the fundamental question of the politics of space: who owns it, who occupies it, who has the right of access to it, who needs it, and who is crossing through it. Indeed, what prevents Guédiguian’s work from being simply co-opted as a tourist promotion by the region that underwrites it is that it invites us to understand and gauge the concrete process of urban transformation

in Space and being in contemporary French cinema
Maria Rovisco

cleavages challenge both internally and externally the political boundaries of the nation-state. In deploying a particular physical and ‘mental’ landscape such films refuse to express an idealised or uniform image of the nation. In European ‘films of voyage’, the iconography of the countryside plays an important part in mapping the nation as a diverse rather than a homogenous cultural space. Two case

in Cinematic countrysides