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Michael Leonard

-shock therapy also serves to conjure an institutional desire to eradicate the memory of revolt, both correcting the logic that sought to question the reigning political order while also preventing transmission to future generations. In this respect, the dialogue between Serge and the young man embodies an act of resistance to the erasure of memory. A further layer of signification to the sequence emerges from the fact that the inquisitive young man in conversation with Serge is played by the film-maker Xavier Beauvois. Born just prior to the outbreak of May 68, Beauvois

in Philippe Garrel
Mónica Martín

unable to give birth to future generations. Following this thread, this chapter complements as well as departs from earlier investigations into more prismatic examinations of the film: from ‘postcoloniality and detention’ to ‘bio-reproductive futurism’ and ‘states of exception’, among other in-depth studies. 10 It therefore concentrates on how Children of Men forms a distance from the anti-utopian bias of late twentieth-century cultural texts and social theories – a demise of utopian thinking fostered by, among other causes

in Global London on screen
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The spectator’s God’s-eye view
Daisy Black

practices beyond its own story. 40 Coincidentally, like the four books buried by Seth, the play survives in four manuscripts, and the 1611 edition was likely transcribed from the prompt copy of an earlier script. The copying of this manuscript, and the fact it was considered important enough to be reproduced four times, suggests that the play, like Seth’s books, participates in an attempt not only to preserve the past, but to recognise its ability to release meaning for future generations. This suggests that the 1611 manuscript itself participates in the cultural

in Play time
Kim Akass

be educated only according to their class and if they have responsibility for bringing up future generations, Wollstonecraft’s writing nevertheless quite usefully set the tone for much subsequent writing about motherhood when, in 1792, she pointed to a central contradiction: ‘To be a good mother – a woman must have sense, and that independence of mind which few women possess

in Mothers on American television
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Un secret, Belle et Sébastien and Les Héritiers

. With her modern film, Mention-Schaar suggests that stories from the past have a contemporary pedagogical scope and that intergenerational communication remains integral to the themes of hope and vigilance as educators prepare future generations for the world around them. Figure 5.2  Les Héritiers

in Reframing remembrance
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Lucie Aubrac, Bon Voyage, Les Femmes de l’ombre and L’Armée du crime

's audience would therefore have seen this version of events without the further clarification and continued believing Hardy to be guilty of Moulin's betrayal. Such is the potential impact of cinematic commemoration and retelling of history in a mainstream, politically charged context. Beyond the film's capacity to engage with its many viewers, one could argue that the subjects, the Aubracs, as militants for resistance memory in France, aimed to promote and instil a spirit of resistance and vigilance in future generations. In the lead-up to the film

in Reframing remembrance
Andrew Spicer

convincing … the whole purpose of the film is to underline the moral ambivalence of both characters.’  127 Thus reviewers anticipated Ritt's retrospective judgement that the film's emotional power is at odds with its ideological conception to present Kehoe as the hero whose struggle against exploitation – which in Ritt's view led directly to the formation of subsequent labour organisations including the United Mine Workers of America union – would find its vindication and fulfilment in future generations

in Sean Connery
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inculquer le sentiment une expérience et un destin partagés autres sont érigés en expiation et répondent un sentiment de culpabilité ou auto-glorification’ ( 1993 : 732) (Some memorials aim to educate future generations and to instil in them an experience and a sense of a shared destiny. Others are erected out of expiation and as a response to a feeling of guilt or self-glorification). Here, the authors evoke the capacity of monuments, and other representations of history, to transmit ideas and to symbolise individual and collective actions of the past. It is necessary to

in Reframing remembrance
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Un héros très discret, Le Promeneur du Champ-de-Mars, Indigènes and Diplomatie

tous’ (Raspiengeas 2006b ) (a vital film about the sacrifice of those during the war, a sacrifice which deserves universal recognition). Jean-Baptiste Thoret ( 2006 ) stated that Indigènes ‘est un film de propagande, mais pour la bonne cause’ (is a propaganda film, but one for a good cause); it is indeed a good cause to reconcile future generations with a somewhat forgotten past. As Bouchareb explained: Notre rôle, c’est de réveiller les consciences … pour crever enfin l’abcès … pour que les

in Reframing remembrance
A southern community’s response to The Birth of a Nation
Van Dora Williams

Soldiers’ Comfort Committee, a national organisation dedicated to assisting World War I Black veterans, produced a film of its own in direct response to Birth titled Loyalty of a Race . The well-known Within Our Gates film by Oscar Micheaux was another response to Griffith’s film. These responses to the film laid the groundwork for future generations to advocate for their own cultural agency in

in D.W. Griffith’s The Birth of a Nation