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Understanding Production, Humour and Political Context through Nice Coloured Girls (1987) and The Sapphires (2012)
Benjin Pollock

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

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
John Corner

4 Mediated politics, promotional culture and the idea of ‘propaganda’ PRELIMINARY NOTE As earlier chapters have indicated, ‘propaganda’ is a term used regularly in political and public discussion of the media, but one that has a less marked and more intermittent usage as a term of theory and analysis in media research. One notable exception to this is in that work using the ‘propaganda model’ as outlined by Edward Herman and Noam Chomsky over twenty years ago (Herman and Chomsky, 1988), in which the general relations between the political system and the media

in Theorising Media
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
The articulation of ideology andmelodrama in Czechoslovak communist television serials, 1975–89
Irena Carpentier Reifová, Petr Bednařík and Šimon Dominik

6 Between politics and soap: The articulation of ideology and melodrama in Czechoslovak communist television serials, 1975–891 Irena Carpentier Reifová, Petr Bednařík and Šimon Dominik During the period of Czechoslovak normalisation2 (1969–89), an important centre of everyday life was the private living room. As David Morley claims, home territories are far from being innocent, neutral spaces isolated from social and political processes (Morley, 2000). The family living room, decorated with floral curtains, plush coverings and wavering bluish light from an old

in Popular television in authoritarian Europe
Espionage as a public service in Spooks (BBC 1, 2002–11)
Joseph Oldham

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
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
Open Access (free)
Dana Mills

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