Search results

An Analysis of Cinenovas Management Committee Meeting Minutes, 1991–97

Cinenova was relaunched in 1991 from the pre-existing womens distributor, Circles, which had operated throughout the 1980s. In keeping with their founders feminist politics, both Circles and Cinenova were run via a non-hierarchical management structure and focused on the distribution, promotion and exhibition of films and videos made by, for and about women. As the funding and economic climate became harsher during the 1990s this organisational model was severely tested, as Cinenova‘s workers were forced to try and survive on a more commercially viable basis. This article uses Cinenova‘s management committee meeting minutes of 1991–97 to explore how its management practices impacted on its operation and effectiveness.

Film Studies
Abstract only
Re-Reading European Trash Cinema (1988–98)

Discussion of the horror film fanzine culture of the 1980s and early 1990s has been dominated by an emphasis on questions around the politics of taste, considerations of subcultural capital and cultism in fan writing, and processes of cultural distinction and the circulation of forms of capital. Sconce‘s concept of paracinema has come to shape the conceptual approach to fanzines. The aim of this article is to refocus attention on other areas of fanzine production, providing a more nuanced and richer historicisation of these publications and the ways they contributed to the circulation, reception and consumption of European horror film. Focusing on the fanzine European Trash Cinema (1988–98) I propose a return to the actual cultural object – the printed zine – examining the networks of producers converging around, and writing about, Eurohorror films and related European trash cinematic forms, as well as the contents within the publication itself.

Film Studies
The Boom of 1960s–70s Erotic Cinema and the Policing of Young Female Subjects in Japanese sukeban Films

The purpose of this article is to analyse the ambivalent politics of looking and discourses of gender, class and sexuality in a variety of 1960s–70s Japanese studio-made exploitation films, known as sukeban films. It first contextualises their production within a transnational and domestic shift emphasising sex and violence in film and popular culture. The article then highlights instances where the visual, narrative and discursive articulation of non-conforming femininities flips the gendered power balance, as in the sketches that satirise men’s sexual fetishes for girls. In conclusion, it suggests to understand the filmic construction of young women’s agency, and their bodily and sexual performance, in terms of a recurring modus operandi of Japanese media that ambivalently panders to and co-constitutes youth phenomena.

Film Studies
Espionage as a public service in Spooks (BBC 1, 2002–11)

6 The precinct is political: espionage as a public service in Spooks (BBC 1, 2002–11) Although the 1990s proved something of a moribund period for the British television spy series, following the turn of the ­mil­lennium the BBC would experience great success with Spooks (BBC 1, 2002–11), an ongoing espionage-themed drama developed as a new flagship programme for its majority interest channel BBC 1. This series centred on the officers of Section D, a fictional counter-terror unit situated within the real British Security Service (MI5). Spooks made its debut in

in Paranoid visions
Understanding Production, Humour and Political Context through Nice Coloured Girls (1987) and The Sapphires (2012)

How Indigenous Australian history has been portrayed and who has been empowered to define it is a complex and controversial subject in contemporary Australian society. This article critically examines these issues through two Indigenous Australian films: Nice Coloured Girls (1987) and The Sapphires (2012). These two films contrast in style, theme and purpose, but each reclaims Indigenous history on its own terms. Nice Coloured Girls offers a highly fragmented and experimental history reclaiming Indigenous female agency through the appropriation of the colonial archive. The Sapphires eschews such experimentation. It instead celebrates Indigenous socio-political links with African American culture, ‘Black is beautiful’, and the American Civil Rights movements of the 1960s. Crucially, both these films challenge notions of a singular and tragic history for Indigenous Australia. Placing the films within their wider cultural contexts, this article highlights the diversity of Indigenous Australian cinematic expression and the varied ways in which history can be reclaimed on film. However, it also shows that the content, form and accessibility of both works are inextricably linked to the industry concerns and material circumstances of the day. This is a crucial and overlooked aspect of film analysis and has implications for a more nuanced appreciation of Indigenous film as a cultural archive.

Film Studies

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

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

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
Open Access (free)
If Beale Street Could Talk, 2019

I reflect on the place of If Beale Street Could Talk in the corpus of Baldwin’s writings, and its relationship to Barry Jenkins’s movie released at the beginning of 2019. I consider also what the arrival of the movie can tell us about how Baldwin is located in contemporary collective memories.

James Baldwin Review
Open Access (free)

1 Introduction Our political world is in constant motion. Our lives are continually shifting. Collective communicative structures which have held us together in various forms of communal life are relentlessly being challenged by new languages. Practices that have bound human beings together for thousands of years are transformed, gain new meaning and receive renewed significance. This book is a study of one such practice, dance. The book intervenes in critical conjunctures in political theory, bringing together new reflections on the moving body, spaces of

in Dance and politics