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Representations of war and rurality in British and American film

‘realities’ of ongoing military campaigns. The Battle of the Somme (1916), famously, combined documentary footage with reconstructions of specific events for the purposes of cinematic entertainment. Small though the genre might be, given the long history of violent conflict as a subject for feature films the diversity of the genre is unsurprising. Indeed, war films struggle against their classification as

in Cinematic countrysides
Art, authorship and activism

This book charts and analyses the work of Oliver Stone – arguably one of the foremost political filmmakers in Hollywood during the last thirty years. Drawing on previously unseen production files from Oliver Stone’s personal archives and hours of interviews both with Stone and a range of present and former associates within the industry, the book employs a thematic structure to explore Stone’s life and work in terms of war, politics, money, love and corporations. This allows the authors both to provide a synthesis of earlier and later film work as well as locate that work within Stone’s developing critique of government. The book explores the development of aesthetic changes in Stone’s filmmaking and locates those changes within ongoing academic debates about the relationship between film and history as well as wider debates about Hollywood and the film industry. All of this is explored with detailed reference to the films themselves and related to a set of wider concerns that Stone has sought to grapple with -the American Century, exceptionalism and the American Dream, global empire, government surveillance and corporate accountability. The book concludes with a perspective on Stone’s ‘brand’ as not just an auteur and commercially viable independent filmmaker but as an activist arguing for a very distinct kind of American exceptionalism that seeks a positive role for the US globally whilst eschewing military adventurism.

was initially a response to the Spanish reconquista with its attendant expulsion of Muslims to North Africa [. . .] and attempts at seizing Algerian ports’ (Lazreg 1994 : 22). The country was administered as a regency, not from Constantinople but from Algiers, by the Turkish military elite headed by the dey or head of state. As a result, when the city ultimately surrendered to the French in 1830, the declaration was made not

in Algerian national cinema
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Film, history and the Spanish Civil War

In creating the world’s memory of the Spanish civil war, the pen, the brush and the camera wielded on behalf of the defeated have proved mightier than the sword and the power of those who won. Eric Hobsbawm ( 2007 : 4) The war that won’t die When a right-wing military coup was launched against Spain’s democratically elected government in July 1936, a significant number of artists, filmmakers and writers rallied to support the country’s government. On both sides of the divide it was a war waged by millions of largely anonymous, mostly impoverished

in The war that won't die

guarda-chuva vermelho ( The Red Umbrella , 1963) and Helena Solberg’s experimental short documentary A entrevista ( The Interview , 1964), it coincides with the advent of a military–civilian coup d’état and, partly as a result, stands in sharp thematic contrast to the first films of the Cinema Nôvo, which adopted the French New Wave’s preference for open-ended plots and handheld

in Hispanic and Lusophone women filmmakers
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distinguish him from his father – Frank and Francis being too confusing. The route by which Troy Kennedy Martin arrived at his name could have come from one of his own scripts. Indeed the military experience and strong character of his Glaswegian father, together with the nurturing influence of his mother, a Montessori teacher who encouraged her children to read from an early age, were clearly formative influences, not only on Troy but also on his younger brother Ian, both of whom went on to pursue successful careers as screenwriters, with a tendency to specialise in genres

in Troy Kennedy Martin
Recollections of war

stressed and social distinctions are left unstated. Conditions in the camp are the same for officers and men, which contributes to the emphasis on pulling together, in spite of the military hierarchy being maintained. Both groups are seen sharing the remains of the soap (though there is no shortage of Brylcreem, judging by Jack Warner’s hair). Dai leads the choral singing, that symbol of unity which finds its way into other films

in The British working class in postwar film

Home . Denis in particular has since become one of the most important film-makers working in France today. Chocolat and women’s experience of the colonies Whereas during the 1970s, films set in the French colonies tended to dwell on the military or the political (see chapter 2 ), it was only in the 1980s that ‘the personal experience or semi-autobiographical recollection of an ex-colonial’ became a

in Contemporary French cinema

2 Occupation and its discontents The military defeat and subsequent occupation of France in 1940 by the Germans represent the greatest national disaster to affect the country in modern times. The devastation, chaos and loss of life caused as the French armies were ignominiously routed by the invading German forces in May and June, and the government abandoned the capital and took refuge in Bordeaux, were followed by the signing of an armistice which effectively left the Germans in control of two-thirds of the country and fully able to exploit its economic

in Henri-Georges Clouzot
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exploded into open revolt. Meanwhile the nation’s universities became the scene of violent antiwar demonstrations as students protested against the atrocities being perpetrated by the US military in Vietnam. For having been given unlimited powers by Congress to stem the perceived Communist threat from North Vietnam in 1964, Lyndon B. Johnson had radically escalated American military involvement in the region so that by 1965, some 154,000 troops were up country, fighting a massive land war against an indigenous guerrilla movement. As the US military’s saturation bombing

in The wounds of nations