Spectacle and Spanish identity during Franco’s dictatorship
Juan Francisco Gutiérrez Lozano

, en resumen, el “multipelismo”. Lo han puesto de moda los Beatles, lo ha elevado entre nosotros El Cordobés, lo han propagado las chicas inglesas de una generación que habrían de calificar de “novísimas”’ (‘Multipelistas en la Costa. Cunde el desgreñado ejemplo del los Beatles’.) Goddard.indb 33 5/30/2013 1:41:23 PM 34  Juan Francisco Gutiérrez Lozano References J. Babiano and S. Farre (2002), ‘La emigración Española a Europa durante los años sesenta: Francia y Suiza como países de acogida’ (‘Spanish emigration to Europe during the sixties: France and

in Popular television in authoritarian Europe
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

increasingly serve to confirm history and structure the memorialising of knowledge. Through mediated memory historical events become memorialised through their media representation – remembered by their mediation and remediation – and this iterative process helps to construct a sense of the past as episodic. The recognisable narrative of the past as a succession of definable decades (such as ‘the sixties’ and

in Memory and popular film
Jenny Benham

,000 marks and the sixty hostages. 6 In an additional clause Henry then stipulated that, if Richard was successful in his ‘promise’ regarding Henry the Lion, the exiled duke of Saxony, the Emperor would discharge 50,000 marks of Richard’s ransom, pay the 20,000 marks due to Leopold of Austria, and, furthermore, waive the right to the sixty-seven hostages. If Richard was unable to fulfil his

in Peacemaking in the Middle Ages
David Geiringer

traditional historiography of thesixties’, epitomised by the work of Arthur Marwick and Christie Davies, would later reinforce this story of shifting power dynamics. Indeed, Marwick was to identify the Catholic Church as the archetypal antagonist in his account of sixties liberation, describing it as being ‘in opposition to all the great movements aiming towards greater freedom for ordinary human beings in

in The Pope and the pill
America, Europe, and the crises of the 1970s
Ariane Leendertz

. ix–x. 58 J. Reston, ‘Mr. Whiskers’, New York Times , 8 September 1971. 59 J. Reston, ‘Europe in the Spring’, New York Times , 2 April 1972. 60 N. N., ‘How America Looks at Europe’, Time Magazine , 12 March 1973. 61 N. N., ‘Here Comes the “European Idea”’, Time Magazine , 12 March 1973. 62 For an interpretation of the 1970s as a decade of multiple crises P. Jenkins, Decade of Nightmares: The End of the Sixties and the Making of Eighties

in The TransAtlantic reconsidered
Helena Grice

’s stories and teachings. On the one hand, she is inured to hearing Chinese sayings such as ‘Feeding girls is feeding cow-birds’, whilst on the other hand, she listens to her mother ‘talking-story’ about Fa Mu Lan ( WW , p. 48). On the one hand, she busies herself turning ‘American-feminine, or no dates’, whilst on the other, she ‘went away to college – Berkeley in the sixties – and I studied, and I marched to save the world’ ( WW , p. 49). On the one hand, she tells us that there ‘is a Chinese word for the female I – which is “slave”. Break the women with their own

in Maxine Hong Kingston
Duncan Petrie

significant fruit. 65 Notes 1 Steve Neale, ‘Art Cinema as Institution’, Screen , 22: 1 (1981), pp. 11–40. 2 See Alexander Walker, Hollywood, England: The British Film Industry in the Sixties (London: Joseph, 1974). 3 The Eady levy was a tax on admissions that was redistributed, via the British Film Fund, to producers in proportion to their box office takings, thus rewarding commercial success. The NFFC was a specialist film bank advancing loans to

in British art cinema
British DIY punk as a form of cultural resistance
Michelle Liptrot

the Do-it-Yourself (DIY) self-production ethic of 1970s punk, whereby participants followed in the DIY tradition of jazz, skiffle and the sixties counter-culture to produce their own music, visual style and media (in the form of fanzines).7 Another important aspect of the DIY ethic in punk was that bands were (and remain) audience members, underlining punk’s participatory nature and conveying a sense of egalitarianism. This DIY ethic was developed during the 1980s by British anarcho and American hardcore punk, both of which placed greater emphasis on DIY activities

in Fight back
Abstract only
‘Symbols of defiance’ from the print to the digital age
Matt Grimes and Tim Wall

its fanzines are less a rebirth of alternative values and more one of a number of stopping-off places in a longer history of ‘cultures of resistance since the sixties’.19 Many of his interests in music as cultural politics, in community music and DIY culture, expressed in other publications, are distilled in this cultural history.20 In McKay’s history, unlike more traditional popular music histories, punk does not become completely incorporated into the mainstream of the popular music industry, but the importance of the punk critique is sustained through the more

in Fight back
Abstract only
‘Stand by, number one’
Andrew Roberts

–1963 , London : Penguin Books . Houston , Penelope and Crow , Duncan ( 1959–60 ), ‘ Into the Sixties ’, Sight & Sound , Winter, 4 – 8 . Inglis , Fred ( 2003 ), ‘ National Snapshots: Fixing the Past in English War Films ’, in MacKillop , Ian and Sinyard , Neil (eds.) British Cinema in the 1950s: A Celebration , Manchester : Manchester University Press . Johnston , Keith M. ( 2012 ), ‘ A Riot of All the Colours in the Rainbow: Ealing Studios in Colour ’, in Duguid , Mark , Freeman , Lee , Johnston , Keith M. and

in Idols of the Odeons