Search results

Open Access (free)
Ian Scott and Henry Thompson

personal ambition, greed and a belief that there was somehow a shortcut to material wealth. In some of these narratives the pursuit of money is sufficient to induce individual moral implosion, while in others –​for example, Talk Radio and Natural Born Killers –​the mechanism is more complex, mediated by corporate money and ego. In Wall Street: Money Never Sleeps and Savages, Stone pursued the theme of monetary corruption by taking narrative swipes at two of the most lucrative forms of American late capitalism: connected, as it turned out, not just at the point of

in The cinema of Oliver Stone
Abstract only
The extraordinary couple
Kathrina Glitre

Conclusion 181 Conclusion: the extraordinary couple According to André Bazin, ‘comedy was in reality the most serious genre in Hollywood – in the sense that it reflected, through the comic mode, the deepest moral and social beliefs of American life’ (1982: 35). Hollywood romantic comedy’s articulation of the ideology of heterosexual love, marriage and desire is far from consistent, and certainly reflects many of the deep-seated anxieties of the culture(s) which produced it. However, where the realist Bazin implies that Hollywood comedy’s seriousness lies in

in Hollywood romantic comedy States of the union, 1934–65
Open Access (free)
Fixing the past in English war films
Fred Inglis

spotted and disfigured also by the usual bloody cold of the English as well as their mildish racism, but they would nonetheless pass liberal muster in most historical reviews. Englishness had for a season an honourable moral content and a place to which it belonged. That place was home, a term as absent from the indexes of the official classics of political science as it is central to the political values each of us

in British cinema of the 1950s
Abstract only
Brian McFarlane

As distinct from those films discussed in the previous chapter, which directly ‘quote’ from Brief Encounter , there are many more that seem in various ways to echo the 1945 classic. One can’t of course know to what extent the filmmakers involved had Brief Encounter in mind, but the fact is that its essential scenario and its moral core still retain their emotional power, despite the shifts in cultural mores, irresistibly suggesting the long shadow it casts. Those titles to be considered here involve – to varying degrees – a

in The never-ending Brief Encounter
Margaret Kohn

Joshua Dienstag’s “Letter to M. Cavell” makes two arguments. It urges us to reconsider the claim that film is the source of insight into moral complexity and a fertile ground for fostering democratic sensibilities. The essay also shows that film can indeed illuminate the human condition, but it does so when it exposes the tension between eros

in Cinema, democracy and perfectionism
Abstract only
Brian McFarlane

. What, then, is it about this black-and-white film of seventy years ago that has given it such a life? What are the kinds of values it enshrines and how have these been rendered in films and TV productions made in such different eras and for such different audiences? It is one thing to insist on the timelessness of its central moral view – that there is more to life than the satisfying of desire, whatever the changing mores – but this alone would not be sufficient to account for the film’s amazing afterlife. Being morally unimpeachable doesn’t necessarily ensure the

in The never-ending Brief Encounter
Author: Tom Whittaker

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos Saura, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, as well as to those working in sound studies and youth subcultures more broadly.

Clare Woodford

[T]‌he issues raised in these films concern the difficulty of overcoming a certain moral cynicism, a giving up on the aspiration to a life more coherent and admirable than seems affordable after the obligations and compromises of adulthood begin to obscure the

in Cinema, democracy and perfectionism
Dolores Tierney

– the prostitute – within a narrative of conventional morality (Hershfield, 1996 : 77). Elsewhere I have argued that Salón México embodies the patriarchal conservative values of the institutionalized Revolution which map female virtue onto to a sense of nationhood (Tierney, 1997 ). Here I argue that Fernández’ revolutionary moral and ideological discourse of female sacrifice and patriarchal orthodoxy

in Emilio Fernández
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

trademark baroque mannerisms with an overt, fable-like narrative structure, all the better to polarize his latent Manichaeism. This isn’t a new development in Losey of course: both The Boy With Green Hair and The Damned are obviously allegorical in intent; Eve is a thinly disguised biblical fable; while the later Mr Klein employs an old-fashioned doppelgänger motif as a means of furthering Losey’s moral dialectic between

in Joseph Losey