extreme right-wing presidents that ushered in a period of oppression in 1968, referred to as ‘the coup within the coup’, which lasted until the mid-1970s and the so-called abertura or political opening-up. It was, then, in the context of a very clear distinction between Left and Right that the 1960s got under way, and such distinctions would inflect discussions of culture, including popular culture, throughout the decade and
03-chap 02 26/2/07 10:13 am Page 34 The 1960s: social realism and The Wednesday Play 2 The Wednesday Play anthology series has acquired a pivotal role in the history of television drama, providing a showcase for drama that was formally experimental, distinctive to the medium of television and socially and culturally provocative. As such, it is often regarded nostalgically as a symbol of the kind of author-led, issue-based drama that is no longer on our screens. Many of the most widely-discussed plays of the decade – which were also amongst the most
remained critical of the ‘current conditions […] and impatient for change.’ 2 Yet reform was reluctant to arrive. While embarking on a set of internal transformations from the mid-1960s on, Yugoslavia failed ‘to implement substantial and comprehensive changes,’ Hrvoje Klasić claims. Without ‘respecting and encouraging pluralism, with a growing gap between theory and practice, the reform[s], of which much was expected, only intensified the already present antagonisms.’ 3 In fact, the Party leadership remained divided over three critical issues: decentralization and
American sailors in the Lord Mayor’s Parade hoisted a North Vietnamese flag in the city centre. 1 These very brief vignettes from the Belfast of the mid- and late 1960s have two things in common. First, all three actions took as their point of reference events outside Northern Ireland. In this they reflected the greater openness to outside influences that had begun with the Second World War and continued and deepened in the new era of relative prosperity and optimism that followed. Second, none of the three movements involved could be fitted neatly into the simple two
. Overview – from market failure to government failure The institutionalisation of urban problems forms a context for the growth of indigenous local organisations in the 1960s and 1970s. They were created during a post-Fordist period of market failure and massive job losses, and were very different from their later counterparts which accepted market discipline within a new role
This article considers the use made of William Blake by a range of writers associated with the ‘countercultural’ milieu of the 1960s, particularly those linked to its London-based literary context. Iain Sinclair is offered as a writer who, in his appreciation of Blake, stands apart from the poets linked to the anthology, Children of Albion (1969). The article unpacks this distinction, analysing Sinclair’s ‘topographic’ take in comparison to the ‘visionary’ mode of his contemporaries. Having established this dualism, the argument then questions the nature of the visionary poetics assumed to apply to the likes of key poets from the era. The work of Michael Horovitz is brought into view, as is that of Harry Fainlight. In essence, these multiple discourses point to the plurality of Blake as a figure of influence and the variation underpinning his literary utility in post-1960s poetry.
This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.
chapter 4 1960s radicals and political defeat: a lost cause? After the 1960s rebellions, hope and resistance soon gave way to despair and retreat: as Mike Davis has observed, the eclipse of this radical period in the US was characterised by downturns in levels of political activity, splits within organisations such as the SDS, mass state repression targeted at the Black Panthers and others, and, most crucially, a steep decline in class struggle (Davis, 1986: 222–3). Tom Hayden recalled the ‘death upon death’ inflicted on the left (Hayden, 1988: 505). Hirschman
6 The 1960s Introduction The last chapter focused on Bourdieu’s publications in the early 1960s which consolidated the research that he had undertaken in Algeria in the last few years of the previous decade. This established the pattern of activity which was to persist until 1980. Fieldwork or empirical research progressed in tandem with more generalized social and philosophical reflection. Bourdieu had not yet articulated a working philosophy of science, but he proceeded on the tacit assumption that he was offering intelligent responses to the phenomena which
Introduction The application of the concept of ‘art cinema’ to British film production in the 1960s immediately poses certain problems of definition. If we adopt Steve Neale’s institutional perspective, highlighting how the concept was used in France, Italy and Germany to foster indigenous national cinemas that could resist the threat posed by Hollywood by emphasising the cultural value of film, 1 then the evidence suggests a rather different set of priorities in the case of Britain. For the UK film industry