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Des O’Rawe

, 90 min.) that had been banned by the Greek (military) government of the day. She then moved to London, was active in feminist circles (hence, her interest in Godard’s work at that time), before becoming the co-­founder of the Committee for the Reunification of the Elgin Marbles. 13 MacCabe, Godard: A Portrait of the Artist, p. 211. See also Mim Scala’s Diary of a Teddy Boy: A Memoir of the Long Sixties (London: Creative Space, 2013), pp. 95–9. In one of the sequences from British Sounds­/See You at Mao (1969, 16 mm, 52 min.), a group of One plus one (p.m.)137

in Regarding the real
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Performance in the contemporary biopic
Dennis Bingham

invented the telephone’ sense. I’m Not There invites us to see Dylan in Cate Blanchett, while also asking us to see Cate Blanchett, as a woman, in Bob Dylan, as well as asking us to see an African American 12-year-old (Marcus Carl Franklin) and Woody Guthrie in him. In his memoir, Chronicles, Volume One Dylan describes seeing the Denzel Washington film, The Mighty Quinn (1989), whose title came from one of Dylan’s songs

in Genre and performance
Sylvie Magerstädt

parts, bringing it a total of thirteen episodes. The television series I, Claudius is based on the two historical novels I, Claudius and Claudius the God by Robert Graves, both published in 1934. According to Richards (2008: 159), ‘Graves . . . revealed that he decided to tell the story of the Emperor Claudius in order to pay off his debts. Inspired by the works of Suetonius and Tacitus, he wrote two novels . . . in the form of a memoir written by the emperor himself.’ Although some of the content of the show overlaps with that of The Caesars, the 68  Costumes and

in TV antiquity
Englishness, pop and The Smiths
Kari Kallioniemi

writers Galton and Simpson, and cockney pop-duo Chas‘n’Dave,59 and lodged in the tabloids as a retro-bohemian tailor-made for contemporary celebrity culture. The singer–songwriter Billy Bragg reacted to the terror attacks on London of 7 July 2005 by writing a contemplative book about his sense of belonging called The Progressive Patriot,60 in which he tried to analyse Englishness by combining his own musical memoir with his family history. This postscript illustrates how intriguing and inspiring the combination of pop and Englishness remains, even in a world being

in Why pamper life's complexities?
Nicole M. Jackson

was stabbed by a group of white teenagers while waiting at a bus stop with his friend Duwayne Brooks. While the Black community immediately decried the attack as racially motivated, as one of the assailants was heard to have said ‘What, what, nigger’, the police were less certain. The initial police investigation was fraught. In her memoir, And Still I Rise: Seeking Justice for Stephen, Stephen’s mother Doreen Lawrence asserts that the police treated the family poorly. They were 156 Adjusting the contrast suspicious of Stephen and his friends, at one point

in Adjusting the contrast
Open Access (free)
Jeffrey Pence

seen ideological critique turn inward upon itself, nostalgia remains – nostalgically, of course – a sign of false consciousness, of individual and mass delusion leading to commercial, critical and political vulnerability. Beyond the various monuments, lieux de memoires , television shills in documentary form, fashion revivals, musical retreads, pop cultural recyclings, political atavisms, religious

in Memory and popular film
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Lindsay Anderson’s private writing
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

/1/61/13). 17 See, for example, diary, 11 January 1972 (LA 6/1/61/41). 18 Gavin Lambert, Mainly About Lindsay Anderson: A Memoir (London: Faber and Faber, 2000) 7. 19 Diary, 16 December 1971 (LA 6

in Lindsay Anderson
Empirical, named and implied author
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

1/11/3/1/5). 32 Richard Dyer, Stars (London: BFI, 1998) 20–32. 33 David Sherwin, Going Mad in Hollywood and Life with Lindsay Anderson (London: Penguin, 1997); Gavin Lambert, Mainly About Lindsay Anderson: A Memoir (London: Faber and Faber, 2000); McDowell

in Lindsay Anderson
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Lonely passions - the cinema of Jack Clayton
Neil Sinyard

Clayton’s The Lonely Passion of Judith Hearne ’, Literature/Film Quarterly , Vol. 21, No. 1, 1993, p. 34. 14 Tony Richardson explains his reasons for his action, and describes the reaction, in his autobiography, Long Distance Runner : A Memoir (London, Faber & Faber, 1993), p. 200. For a lively response to Richardson’s action, see Films and

in Jack Clayton
French filmmaking in the suburbs, 1896–1920
Roland-François Lack

scale. Named or recognisable suburbs in Feuillade’s films, if they are not Neuilly, tend to be at a greater distance from the city. Gaumont director Henri Fescourt, in his memoir of filmmaking in this period La foi et les montagnes, described the typical approach to location shooting in the region around Paris: The director never, as we do today, went on expedition in search of sites suited to the dramatic situation. He would set out of a morning with his troupe, headed somewhere decided upon at the last minute. Versailles, Villers-Cotterêts, La Varenne, Fontainebleau

in Screening the Paris suburbs