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contest so that issues of moral economy and political philosophy are inseparably part of foundational thinking. When that has been said, many will be puzzled by a chapter titled ‘The constitution of the foundational’. The Oxford English Dictionary defines a constitution as ‘a body of fundamental principles or established precedents according to which a state or other body is acknowledged to be governed’. This is the constitution thought of as a political mechanism – a set of rules prescribing the relationship between the different parts of a state

in Foundational Economy
Parvati Nair
Julián Daniel Gutiérrez-Albilla

, although some theorists are now exploring how analogy may be integral to subjectivity, it is often thought that the constitution of subjectivity is based on lack and castration and that it is always rooted in sexual difference. If, in order to enter the symbolic order, we need to acquire a language that is already shaped by patriarchal ideology and, in Lacanian terms, associated with the phallic signifier, which associates femininity with lack

in Hispanic and Lusophone women filmmakers
Open Access (free)
Memory and popular film
Paul Grainge

national purity and tradition by ‘alien’ elements and ideologies – was addressed in the public history films and commemoration pictures examined by Roberta E. Pearson and Heidi Kenaga in this book, Blade Runner (1982), Total Recall (1990) and Memento (2000) demonstrate a more contemporary concern with the unsettled boundaries between reality and simulation in the constitution of remembered identity and experience. If

in Memory and popular film
Abstract only
Moments in television

Substance and style have been attended to separately in different strands of television studies, from those who have sought to establish the discipline as serious and worthy of study, to the work of television aesthetics, which has taken stylistic achievement as a primary focus. This collection interrogates and overturns the typical relationships between the terms, instead setting them alongside one another and renegotiating their relationship through new perspectives and with reference to a range of television programming. Contributors draw attention to the ways substance and style inform one another, placing value on their integration and highlighting the potential for new meanings to form through their combination. In this way, the binary is used to re-evaluate television that has been deemed a failure, or to highlight the achievements of programming or creative personnel who are less celebrated. Chapters present style as a matter of substance, in terms of it being both part of the material constitution of television and an aspect of television that rewards detailed attention. Substance is developed through a range of interpretations which invite discussion of television’s essential qualities and capabilities as well as its meaningfulness, in conjunction with its stylistic achievements. Programmes studied comprise The Americans, Call the Midwife, Les Revenants, The Good Wife, Friends, The Simpsons, John From Cincinnati, Police Squad! and The Time Tunnel. Substance and style are evaluated across these examples from a wide range of television forms, formats and genres, which include series and serial dramas, sitcoms, science fiction, animation, horror, thrillers and period dramas.

Open Access (free)

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.


This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Representations of mental illness in the period dramas of Steven Knight
Ward Dan

One of the central functions of period drama as a genre is not only to represent and mythologise the past, but also to draw parallels between significant cultural issues past and present. Open dialogues about mental illness are increasingly prominent in the contemporary public sphere, but it was not always thus: those suffering from such maladies were routinely marginalised, excluded from civil society, and in some cases confined physically to primitive mental asylums such as the infamous Bedlam. In this chapter, I analyse the period dramas of Steven Knight, whose work is immersed in the dark underbelly of British history. Employing a framework that places significant emphasis on evolving discourses – both social and scientific – surrounding mental illness and its treatment, I seek to understand the real history informing Knight’s narratives, and how these representations resonate in the present day. Focusing specifically on the BBC series Peaky Blinders and Taboo, the essay examines discourses around PTSD, institutionalisation, hereditary mental disorders, and the cultural constitution of ‘madness’, and analyses how Knight’s characterisations help to demystify popular perception of the concept, in historical and contemporary terms.

in Diagnosing history
Abstract only
Foundational matters

the rights and duties of citizens. The third and fourth chapters are connected because, when corporations are juridical persons, they are citizens just as much as natural persons. Corporations as citizens have duties, but these are commonly abrogated by their predatory behaviour in the foundational economy. Our argument, then, is that the duties of corporate citizens should be made explicit through a process of political bargaining which brings the operations of privately owned companies into the public domain under a reformed constitution. And reforming the

in Foundational Economy
Abstract only
From national defense to self-defense
Justin A. Joyce

’s will on others, guns are always political instruments.6 Whatever it may be taken to mean today, it is clear that the Second Amendment to the US Constitution stands as a testament to a paradigmatic shift in the organization of political power.7 The full text of the amendment, as cited in Heller, reads, ‘A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.’ The prefatory clauses indicate that a militia is preferable to a standing army. The operative clauses recognize gun

in Gunslinging justice
Star Trek and the transfiguration of naval history
Jonathan Rayner

backdating the renowned name to an earlier starship.34 The idolisation of the Enterprise within Star Trek can be seen to have embedded and extended the significance of the name and its history within popular cultural memory. However, the nomenclature of Star Fleet vessels in general represents a further cooptation of naval (and wider historical and cultural) references into the Star Trek mythology. The Enterprise is said to belong to the Constitution class of starships: the names of her sister-ships appearing in the original series further enshrine American naval tradition

in The naval war film