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Traumatic events and international horror cinema
Linnie Blake

speaking, this is a theoretical caucus that attempts to articulate and critique the diverse ways in which traumatic memories have been inscribed as wounds on the cultural, social, psychic and political life of those who have experienced them, and those cultural products that seek to represent such experiences to those who have not. Such articulation and critique is intimately concerned with the ways in which ideas of integrated and cohesive identity may be violently challenged by traumatic events such as genocide, war, social marginalisation or persecution, being part of

in The wounds of nations
Engaging with ethnicity
Joseph McGonagle

1 Changing notions of national identity: engaging with ethnicity As the Introduction made clear, since the early 1980s France has experienced an important period of significant political and social change. Many prevailing notions of national identity were redefined as the descendants of post-World War Two migrants to France (and especially those of Maghrebi heritage) came of age. Laws on nationality and citizenship were repeatedly revised, and controversy raged over measures that purportedly challenged the primacy of French republican universalism as well as

in Representing ethnicity in contemporary French visual culture
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Kes, Threads and beyond
David Forrest and Sue Vice

convincing effort to respond to the era’s gender politics in Unfinished Business emphasises how important the retention of an up-­to-­date symbiosis of real-­world events and writing was for him. In his works of the 1990s, including Shooting Stars (Chris Bernard, 1990) and Born Kicking (Mandie Fletcher, 1992), some elements of a nascent engagement with other aspects of contemporary Britain, including its multicultural nature, appear. However, the plot of Shooting Stars is a preliminary and sometimes uncomfortable examination of a concern with the elements of intersectional

in Barry Hines
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Lisa Downing

critics about Leconte, and has led to a dismissal of his filmic project as lacking seriousness. Leconte’s refusal to profess an engagement (commitment) to a single filmic genre, style, social project or political agenda is often dismissed as revelatory of a frivolous or adolescent lack of gravity. However, to see Leconte as unconcerned by questions of ethics is to misread both the director’s self-deprecating rhetoric and his films

in Patrice Leconte
Mourning and melodrama in Para que no me olvides (2005) by Patricia Ferreira
Isolina Ballesteros

fictionalise specific historical events or individual actions taking place during the Civil War and the post-war years. Instead, this film relocates in the present the collective response to loss and pain caused by the political conflict, as well as the subsequent oblivion and remembrance, all from an individual perspective that attempts to connect personal trauma to socio-political awareness, while bridging

in Hispanic and Lusophone women filmmakers
patterns of the past in Vacas/Cows
David Archibald

occur, armed conflict a seemingly inevitable by-product of human nature and of Basque history and politics. 1 The film, in addition, in its concentration on cycles and circles, can be read as a commentary on general trends in historical development, challenging, as it does, both the traditional linear and ‘the past as chaos’ historiographical models outlined in the introduction. This chapter offers an analysis of the way that these perspectives are presented in Vacas, both at the level of content and form, explores debates concerning the cyclical nature of history

in The war that won't die
Open Access (free)
Ian Scott and Henry Thompson

, political commentators and assorted literati weighed in with critiques of the films.5 2 Auster rightly locates that recurrent historical period of the 1960s and early 1970s as a central philosophical component of the two pictures and of Stone’s revaluation of the country, right in the heart of the Cold War era. As he notes: ‘Taken together, they presented Stone’s mythic interpretation of American history and politics since the 1960s.’6 It is this analysis of the personal –​not to say provocative –​commentary allied to historical re-​enactment in Stone’s pictures which

in The cinema of Oliver Stone
James Chapman

revived the tradition, dormant since the first cycle of Anglophone swashbucklers in the 1950s, of a theme song (‘Out of the night a hero must arise/ With courage that even a mask can’t disguise … A man called Zorro’) performed over the opening titles by Cathi Campo. The social politics of Zorro adhere largely to the traditional formula. Don Alejandro sends his son Diego to university in Madrid intending that he should return as ‘a mature, educated young man ready for leadership among the caballeros’. Diego studies under master swordsman Sir Edmund Kendall (played by

in Swashbucklers
Open Access (free)
Memory and popular film
Paul Grainge

dialogic relationship between the temporal constituencies of ‘now’ and ‘then’; it draws attention to the activations and eruptions of the past as they are experienced in and constituted by the present. Despite the clear entanglements of history and memory, there remain important differences between them that prevent any simple conflation of terms. These differences have been mapped politically. Michel Foucault, for

in Memory and popular film
The keys to El Dorado
Agustín Sánchez Vidal and Mar Diestro-Dópido

. Following Franco’s death in 1975, Carlos Saura’s cinema – characterised by a tendency towards political allegory and an unmistakable resistance to the dictatorship – opened up in new directions. At the beginning of the 1980s his output shows considerable diversification. ¡Deprisa! !Deprisa!/Faster! Faster! (1980) updates Saura’s first feature Los golfos/The Hooligans (1959), by virtue of the immediacy of a documentary street

in Spanish cinema 1973–2010