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Chris Beasley and Heather Brook

/it, and threats to the social polity are found in a much more diverse range of genres. In this chapter, our attention rests on films in the former category. Representations of security-as-order can be identified in films from the genres of war, political leadership, combat, spy, cop, and action movies, along with some fantasy and science fiction films. Nevertheless, only the first two – films about war and political leadership – are typically and almost inevitably immersed in the reiteration of security mythology. The most obvious location for political myths relating

in The cultural politics of contemporary Hollywood film
Screening Victoria
Steven Fielding

When British politicians complain that television dramatists have failed to produce a native equivalent of The West Wing – that is, a series about politics that presents its practitioners as noble and effective – they forget one vital detail. 1 President Jed Bartlet, the central protagonist in the NBC series, which in the United States ran from 1999 to 2006, is a head

in The British monarchy on screen
Alison Smith

be the forerunner of a number of films which adopted the narrative and visual conventions of the policier in order to examine suspect political scandals or social abuses. This typical 1970s genre was soon christened by its detractors the série-Z , by analogy with série-B , ‘B-movies’. The obviously unflattering connotations of the term reflect the fact that, at the same time as a number of imitators, Z sparked a lively polemic among the critical press, which continued to rage around the subsequent exponents of the genre. 1

in French cinema in the 1970s
Abstract only
Jeffrey Richards

). But he wrecks the broadcasting studio and escapes. He then concocts and carries out a plan to kidnap Tokyo Rose and thus terminate her broadcasts. Radio and politics became inextricably mixed in the United States in the 1930s. Franklin Delano Roosevelt became par excellence the ‘radio president’ making over 300 radio addresses between 1933 and 1945. His addresses became popularly known as ‘fireside chats’ and created that vital ‘illusion of intimacy’; they were

in Cinema and radio in Britain and America, 1920–60
Hugo Frey

Readers may well have extrapolated from Malle’s contribution to the events of May ’68 and his films of the 1970s and 1980s that the director, despite his social origins, was broadly speaking from the left-wing of the political spectrum. In fact, Malle is a far more politically fluid film-maker than his later work implies. As Malle was to himself admit, he once held complex cultural affinities with

in Louis Malle
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal
David Forrest and Sue Vice

2 The politics of hope in 1970s Britain First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal In this chapter, we focus on a period of extremely fruitful aesthetic production for Hines, in terms of the novels and screenplays that followed A Kestrel for a Knave. During the 1970s, Hines’s political energies were directed towards considering the institutions and structures of life at a time of active struggle for workers’ rights. Thus industrial action is apparent in First Signs (1972) on the part of its increasingly radicalised protagonist, who is

in Barry Hines
Guy Austin

history plus the often dysfunctional relation between the state and the people makes what he calls the Algerian problem ‘la limite extrême de tous les problèmes sociaux et politiques’ [the extreme example of all social and political problems] (Bourdieu 1997 : 21). Bourdieu identifies key issues in the recent history of Algeria as originating in the after-effects of colonialism and the war of liberation against the French (1954

in Algerian national cinema
Tom Whittaker

culturally recognised as such at the time of the film. The melodramatic mode in Gary Cooper , which typically draws its source material from social conflicts and inconsistencies, serves to work through these contradictions. As such, Miró’s recourse to pathos has an important political dimension, in that it articulates the ambivalent location of female identity during the transition. This chapter will

in Hispanic and Lusophone women filmmakers
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

In a Backward Country , Jones’s 1957 teleplay on land reform in Jamaica, where his own family were property owners. ‘We had a certain political kinship and we got along very well in other respects, too’, recalled Losey. 3 So well that Losey later admitted that their next project, Eve , ‘was a much more active collaboration … than any other I’ve had; and I probably made a greater personal contribution to that script than

in Joseph Losey
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Order and disorder
Chris Beasley and Heather Brook

, protect, and defend your constitutional liberties. (Jack Valenti, Chairman and CEO of the Motion Picture Association of America 1966–2004, 2002) Every man I meet wants to protect me. I can’t figure out what from. (Mae West)1 In this chapter, we begin by considering what a cultural politics approach brings to understandings of political myths and narratives of national security as these are presented in Hollywood movies. After briefly reviewing the extent and reach of Hollywood’s global domination of the film industry (see chapters 12 and 13 for more detail), we consider

in The cultural politics of contemporary Hollywood film