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Toxic Grafity’s punk epiphany as subjectivity (re)storying ‘the truth of revolution’ across the lifespan
Mike Diboll

thing from my mind because I was overwhelmed by flashbacks from complex post-traumatic stress and … major depression.33 Notes 1 ‘Mike Diboll’ refers to the legal person imbued with citizenship, rights and responsibilities before the law. 2 Toxic ran for six issues, 1978–82; each issue carried a different misspelling of ‘graffiti’. 3 Matthew Worley, ‘Punk, Politics and British (Fan)zines, 1976–84: “While the world was dying did you wonder why?”’, History Workshop Journal, 79:1 (2015), 76–106. 4 Paul Willis, Learning to Labour: How Working-Class Kids Get Working

in Ripped, torn and cut
America’s last frontier hero in the age of Reaganite eschatology and beyond
Linnie Blake

’s current involvement in Vietnam and the struggle for Civil Rights at home while deploying the traditional iconography, plot lines and characters of the genre to provide a sustained assault on establishment ideology, specifically notions of class, race and gender.13 Now questions as to who actually owned the nation and its dreams were being transported back into the Old West to ask a range of questions: Who can be said to define or constitute a nation? Who really owns the land? Who decides what it is to be an American? And what rights and responsibilities may that entail

in The wounds of nations
Jane Roscoe and Craig Hight

documentary crew. In an argument over a consent form, we see characters discuss the rights and responsibilities of the filmmakers, and the control which the filmmakers have over what is seen and not seen. (There is the brief suggestion that a non-consenting doctor could easily be cut from the film. She reluctantly signs the form, saying ‘just keep my piece off Hard Copy , okay?’) There are numerous aspects of the episode which

in Faking it
Douglas Morrey

that recalls André Malraux’s approach to art history as well as Godard’s theory of montage. Rosenthal also shares Godard’s discourse on rights and responsibility, implying a ‘devoir’ rather than ‘droits d’auteur’ 15 when he suggests that the Louvre is stealing works of art from the public: ‘le directeur du Louvre ne veut plus simplement protéger la Victoire de Samothrace , il veut être l’ auteur de

in Jean-Luc Godard