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The limits of radicalism

9 Children of Men: the limits of ­radicalism Children of Men (2006) is Alfonso Cuarón’s greatest filmic achievement to date and constitutes an auteurist statement in the way that it demands that its director be taken seriously. It addresses weighty issues and sets out to provide an account of the most pressing problems facing humanity: environmental destruction (symbolised by infertility), mass migration, and the tyranny within democratic states. It has its own specific look and applies a grimy desaturated realist aesthetic to a fantasy premise: the fact that

in The three amigos
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The ethics and politics of memory in an age of mass culture

century when two developments radically changed the conditions and contours of memory in American culture. Modernisation and industrialisation sparked an unprecedented movement of peoples across the globe, while the birth of the cinema and other technological innovations led to the emergence of a truly mass culture. In the context of mass migrations, memory would be required to play a crucial new role

in Memory and popular film

, and grew in popularity in the 1930s and 1940s with mass migration to the cities. For more information on ranchera music, see Broyles-González ( 2002 ). 14 See Chapter 3 for analysis of Pedro Almodóvar’s use of this song. 15 Her rendition of ‘Tú me acostumbraste

in Screening songs in Hispanic and Lusophone cinema

. The perils of a historical mass migration are raised in Maria’s accounts of life in a village where so many young men were forced to emigrate to escape poverty-stricken lives. Crossing boundaries, in other words the physical act of crossing or of being faced with a political boundary inscribed in the landscape, is a process that is both symbolically and affectively linked to the topics of ongoing

in Cinematic countrysides
The War on Terror and the resurgence of hillbilly horror after 9/11

guy Henry Fonda to affirm the validity of the New Deal, rejecting in the process any less American (i.e. communistic) solutions. As the mass migration of some three million Appalachian people to the mid-Atlantic and mid-Western cities of the 1950s threatened to undermine Cold War pretensions to cultural homogeneity and national stability, moreover, television stepped into the breach: with programmes like The Real McCoys (1957) Americanising the Appalachian in its tale of West Virginia farmers seeking a new life in California. It was a strategy echoed throughout the

in The wounds of nations