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Recollections of war
Philip Gillett

functions as emotional catalyst, capturing the sense of getting on with things because there is no alternative and giving audiences the opportunity to empathise with characters’ ways of coping. In C. A. Lejeune’s words, ‘Again and again the audience is left to resolve its own tensions: an operation that is painful, unusual and good for the soul.’ 17 Drazin sums up ‘Puffin’ Asquith’s acceptance of his failure

in The British working class in postwar film
The Smiths and the challenge of Thatcherism
Joseph Brooker

Britain, he offered another, sometimes a critique of that official view. Inflammatory assertions were tempered with bathos and punchlines: the model was more Oscar Wilde than Arthur Scargill. He could even match one summative slogan (‘There Is No Alternative’, ‘On Your Bike’) with another (‘Meat Is Murder’, ‘The Queen Is Dead’). Of course, Morrissey was marginal to the discursive contests of the day, and his contributions altered no politician’s course. Thatcherism had more prominent, accredited opponents: Neil Kinnock, Ken Livingstone, Edward Heath. Even within pop

in Why pamper life's complexities?
The Clash, left melancholia and the politics of redemption
Colin Coulter

MELANCHOLIA AND THE POLITICS OF REDEMPTION 79 and injustice documented in the song were in the ascendant and moving towards what only in hindsight looks like their inevitable triumph. In the song’s lyrics, there is no sense that such a calamity might be avoided. In its refusal to even conceive of a different outcome, ‘Straight to Hell’ might be said to prefigure the ultimate victory of neoliberalism, an ideological project that from the outset insisted that ‘there is no alternative’. While it may seem counter-intuitive at first, it is, as we shall see later, precisely this

in Working for the clampdown
Marriage, remarriage and screwball comedy
Kathrina Glitre

comedies end with a proposal, let alone a wedding; there is no mention of marriage at the end of Holiday or Bringing Up Baby, for example. While marriage may well be implied (or assumed), this is not the same thing as conservative reaffirmation. It would be literally impossible for a 1930s’ Hollywood film, made under the moral guardianship of the Production Code, to explicitly reject marriage as the framework for a heterosexual relationship – but this does not necessarily mean that the film endorses that framework. The awful truth for screwball comedy is that there is no

in Hollywood romantic comedy States of the union, 1934–65
Abstract only
Alison Smith

which we come to see them differently. This process is also central to films such as L’Opéra-Mouffe and Cléo de 5 à 7 , but in these films there is no alternative vision. La Pointe Courte provides an illustration of the way the external becomes an image of the internal. That is not, however, the only way in which La Pointe Courte impinges on the couple’s story. The first point to note is the

in Agnès Varda
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Alternatives in the here and now
Stephen Greer

Sissy’s Progress is a desire to respond to the social conditions of the real world as they exist in the present moment, in large part because there is no alternative but the present and because a response to violence and the threat of violence cannot be postponed. In their recent chapbook Before I Step Outside (You Love Me) (2017), queer performance artist Travis Alabanza describes the ritual of taking a selfie before stepping outside to ‘remind myself of how I looked in that moment. To archive my existence before physical danger’. Though to be black, trans and femme

in Queer exceptions
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John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

Thanking her for a ‘magically perceptive letter’, Anderson (who used the I-Ching quite often) developed her analysis saying that he had ‘always believed instinctively in the necessity of waiting for the forces of life to nourish one before it is possible to undertake any new work of any ambition’. One must wait until ‘time has brought one inescapably round to the point where there is no alternative but to undertake a new

in Lindsay Anderson
Mia-Marie Hammarlin

newsroom can control scandal reporting once it has gathered momentum. Perhaps the mechanisms of the hounding – which are, after all, acknowledged – are not good, but unfortunately the course of events cannot be halted. The process is beyond the control of individual actors. When I later listened to the interviews, the lines of argumentation made me think of the political term TINA, the acronym for the expression ‘There Is No Alternative’. The following pages will investigate the significance of this fatalistic conviction in detail. Undignified behaviour and a lack of

in Exposed
An introduction
Colin Coulter

Margaret Thatcher return to power for her second, genuinely revolutionary period in office. The album documents, then, that moment when the tide of history shifted in favour of the forces of neoliberalism. While some of the songs on Combat Rock showcase a trademark righteous belligerence, the overall tone of the album is rather closer to political acquiescence. Listening to the likes of ‘Ghetto Defendant’ or ‘Straight to Hell’, there is a mood of abjection that suggests that there is no alternative to an ascendant political order that would only compound the injustices

in Working for the clampdown
Alison Smith

admired, it is possible that the director intended the audience to read the one with reference and comparison to the other. However, here there is no alternative form of activism, and no conflict of generations. Costa-Gavras noted, at the time of Z , the existence of other events to which the film might be seen to refer: there had been no lack of political assassinations in the recent past – along with Kennedy and Martin Luther King he did indeed evoke the Ben Barka affair (Costa-Gavras et al. 1969 : 8), but only to dismiss it

in French cinema in the 1970s