Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

politician and Frank Capra’s benign figure of paternal authority, the costume melodramas of the late 1930s and early 1940s displace the struggles of male leaders such as Roosevelt and Churchill onto the figure of the Queen and her political adversaries. 9 Part and parcel of this displacement is the manner in which quasi-historical representations serve to support the war effort by moving into an earlier

in The British monarchy on screen
Jenny Edkins

that arose in the early years of the twentieth century take as accepted among other things the impossibility of independent observation, the straightforward existence of objects, or a defined temporality, and this is the picture of the world that makes sense to me. It is also a picture of the world as fundamentally interconnected, a notion expressed perhaps most clearly by Fritjof Capra, whose book, first published in 1975, draws connections between modern physics and Indian and Chinese philosophy.3 As Karen Barad puts it, much later, ‘Existence is EDKINS

in Change and the politics of certainty
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Keith Beattie

’ images in numerous cinematic and televisual histories of the war. Just as McAllister and Jennings frequently recycled newsreel or other images in a number of films, so too footage from Jennings’ films constitutes a rich archive of shots of the wartime home front which has been mined and applied in various contexts. This process was inaugurated during the latter years of the war. For example, Frank Capra used shots from London Can Take It!, Words for Battle and Listen to Britain at salient moments in his Why We Fight wartime series of films. Television has extended this

in Humphrey Jennings
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Harry Blutstein

somebody should come along to threaten or embarrass me about Irita, I would say, “Go right ahead.”’7 To their credit, Roosevelt and the press kept quiet. The public only became aware of the affair when, in 1948, the film State of the Union was released. Directed by Frank Capra, it is loosely based on the 1940 presidential campaign. Willkie is wonderfully portrayed by Spencer Tracy, with Angela Lansbury playing the role of Irita Van Doren. Katherine Hepburn plays Willkie’s long-­ suffering wife (as opposed to real life where she was Tracy’s long-­suffering mistress

in The ascent of globalisation
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The Taming of the Shrew and odd-couple comedy
R. S. White

precedent is mentioned by the director. Frank Capra in his autobiography described the two characters as a spoiled heiress (Ellie Andrews played by Claudette Colbert) and ‘a guy we all know and like’ (Peter Warne played by Clark Gable): ‘And when he meets the spoiled heiress – well, it’s The Taming of the Shrew . But the shrew must be worth taming, and the guy that tames her must be one of us.’ 24 When we

in Shakespeare’s cinema of love
Julien goes to Hollywood
Ben McCann

to great fanfare in 1929 after the successes of Thérèse Raquin (1928) and Les Nouveaux messieurs (1929), only to return to France three years later having made only two films for MGM.7 Duvivier left France in a blaze of publicity and was feted on his arrival in Hollywood. King Vidor hosted a reception in his honour in the presence of the likes of Frank Capra, John Ford, and Ernst Lubitsch, where he proclaimed that Duvivier was ‘un “directeur” au sens propre du terme. On reconnaît sa griffe dans chacun de ses productions’ (Chirat 1968: 16).8 Yet Duvivier quickly

in Julien Duvivier
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Celestino Deleyto

of comedy, are joining the armed forces left, right and centre. Frank Capra, who had just finished his post-Depression comedy Meet John Doe (1941) – the last of his social-problem comedies –, becomes now Major Frank Capra, on active duty in the Army Signal Corps, while Corporal James Stewart is promoted to Second Lieutenant, a rank in which he is joined by Ronald Reagan. Clark Gable shaves off his moustache and enters the

in The secret life of romantic comedy
Piero Garofalo, Elizabeth Leake and Dana Renga

in the film and documentaries on Pavese, however, centres upon the women in his life: his sister Maria, Pizzardo, Elena the daughter of his landlord who cleans his house and with whom he has an affair, and Concia, a servant girl who in the short novel Il carcere upon which the feature film is based, is described as ‘bella come una capra. Qualcosa tra la statua e la capra’25 (as beautiful as a goat. Something between a statue and a goat). Indeed, each of these women is constructed as a projection of fantasy and represents something different to Pavese. Through their

in Internal exile in Fascist Italy
Tom Whittaker

personification of the dependable, populist all-American male – a role most famously cemented in Meet John Doe (dir. Frank Capra, 1941) and High Noon (dir. Fred Zinneman, 1952) – Cooper constitutes the sole positive moral force within Andrea’s world. Indeed, as the title of the film would suggest, Andrea elevates the actor to a quasi-religious status. The night before the operation, Andrea utters the words of

in Hispanic and Lusophone women filmmakers
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Jane Roscoe and Craig Hight

-documentary (Graham 1998 ), and in fact the film’s theme offers some parallels to that of Frank Capra’s Mr Smith Goes to Washington (1939). The film as a whole works as a nostalgic fantasy of the possibility of the victory of a political underdog who is able to succeed against all the odds with a simplistic and often incoherent political platform, 12 hard work and a virtually non-existent campaign budget. Tuttle essentially represents a

in Faking it