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Multimedia polymath and mainstream cult

of the most globally successful film franchises in history, Jed and Tancharoen have become, essentially, the televisual successors of Whedon. As his work has become more and more about film directing, producing and writing; and political activism, it is they who have taken the reins of the television shows that carry his name as executive producer. That said, while the show was still in its early days, Whedon

in Joss Whedon
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–2003) and it did, indeed, change things. It changed Whedon's career; it changed the lives of tens of thousands of those who watched it; it established an expectation from fans and viewers of high quality writing on television long-form serial dramas; and much else besides. And it did this by treating television serial drama as ‘art’ and imbuing that art with a politics, in this case, ‘feminism’. He ensured that his

in Joss Whedon

11 Questioning the critical We have argued throughout this book that the scope of movies that can be considered ‘political’ is much broader than is often assumed. For us, all movies are political in one way or another. How, then, should we understand those films that are more ostensibly political or socially engaged? In this chapter we continue our examination of ‘socially critical’ films (as defined in chapter 10) to consider the extent to which they offer any challenge to dominant power relations with regard to nation, culture, class, gender, sexuality, race

in The cultural politics of contemporary Hollywood film
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nem a of Ol iver   S to ne 94 own charismatic power to advance both the celebrity culture and personal appeal that supposedly it was criticising. While Executive Action and in particular The Parallax View were examples of Hollywood’s willingness to grapple with the spectre of dark and unyielding institutional corruption, neither film performed well at the box office. Indeed, Executive Action generated such negative press coverage because of its suggestion of a business and political cabal involved in the Kennedy assassination that it was quickly withdrawn from

in The cinema of Oliver Stone
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be closely involved with the Cinémathèque as early as 1938, when he and Langlois divided up the national and international dimensions of the new profession of film archiving so important across Europe in the 1930s, and Franju became the Executive Secretary of the Fédération Internationale des Archives du Film (FIAF), an organisation founded on French initiative (Lebovits and Tranchant 1959 : 19). Although he remained in

in Georges Franju
Creating a cultural phenomenon

who was an executive with Sandollar, the company who had optioned the original script in 1988. Clearly impressed by Whedon's writing, she was also aware of an emerging televisual opportunity. In the period between the Buffy film and Alien Resurrection , there had been a significant shift in popular culture output, emblematised by the Spice Girls. Girl Power as both a politics and an economic phenomenon

in Joss Whedon
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/it, and threats to the social polity are found in a much more diverse range of genres. In this chapter, our attention rests on films in the former category. Representations of security-as-order can be identified in films from the genres of war, political leadership, combat, spy, cop, and action movies, along with some fantasy and science fiction films. Nevertheless, only the first two – films about war and political leadership – are typically and almost inevitably immersed in the reiteration of security mythology. The most obvious location for political myths relating

in The cultural politics of contemporary Hollywood film
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Socially critical movies

narratives and production system thus cannot be rationalised as the coincidental Against the grain? Socially critical movies 203 outcome of hard-headed business decisions addressing demand-driven entertainment.7 Neither is it the result of a deliberately misogynistic collusion between studio executives and creatives, but arises, instead, from complex social conditions in which gender figures as a foundational axis of power. The Hollywood film industry promotes itself as merely facilitating the exchange of product for money without any political meaning, and as

in The cultural politics of contemporary Hollywood film
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Local Hero and the location of Scottish cinema

results from the journey of an oil executive based in Houston, Texas to the rural location of the fictionally named coastal village of Furness in the northeast of Scotland. It is this meeting between urban and rural that I wish to examine at the levels of production, text and critical reception in order to reassess how the rural in Local Hero has been claimed by and for critics of Scottish cinema

in Cinematic countrysides
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Joseph Losey and the crisis of historical rupture

critical distance from the ideological orthodoxies of the class establishment – spawning an affecting sympathy for the underdog – but also a broader historical understanding of the crisis of personal and collective commitment that took centre stage in British intellectual life after World War II. As Losey’s biographer David Caute points out, ‘Losey’s life embraces a major crisis in political commitment (the 1930s) and public

in Joseph Losey