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Abstract only
Hyangjin Lee

in shaping the self-identities of a nation. The present study demonstrates the function of cinema to embody the conflicting perceptions of society and nation held by the Korean people who live under the two different political and economic systems. Under the observable differences between South and North Korean films, however, my analysis also uncovers the sustaining power of cultural homogeneity among the Korean people, which has not been

in Contemporary Korean cinema
Tom Whittaker

, the film seeks to appeal to our emotions. As I will show, the affective structure of Miró’s film is a particularly revealing framework for exploring the ways in which female citizenship and identity were renegotiated during the transition. Although the Spanish Constitution recognised women as ‘equal’ citizens, women were still not socially and

in Hispanic and Lusophone women filmmakers
Heather Norris Nicholson

, childcare, education and health grew, it is not surprising that amateurs focused on such accessible subject matter. 16 Carefree play and idealised family life offered reassurance and affirmed a family’s sense of identity, at least to the filmmaker. Films also expressed family experiences that were beginning to be qualitatively different in many homes from either wartime years or the 1930s, once rationing

in Amateur film
Heather Norris Nicholson

’ affiliations or geographical identities. Even so, these long shots show slogans that denote a distinctive phase in both the membership and direction of the movement in the early 1960s when its avowedly single-issue focus was fracturing over concerns about class, socialism, unilateralism and notions of Britain as a still powerful world player. Despite the metaphorical significance of the ‘Lost Children’ sign, the cutaway shot to an

in Amateur film
Contested borders and blurred boundaries in On the Black Hill
Kate Woodward

, when represented in films located in the rural milieu, operates as an embodiment of the nation, as national identities are often largely defined by landscapes.6 As I will demonstrate, in On the Black Hill the iconography of the land and of the rural way of life has very strong ties to ‘the national’ in a Welsh context. But, although it alludes to ideas about the Welsh landscape, the main concern of On the Black Hill is engaging imaginatively with ideas of the border, to the extent that the film is fuelled by the tension between visions of cartographic and material

in British rural landscapes on film
Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other
Ann Davies

the diegetic audience when singing along with Carmen in the chorus, and celebrating for itself the love of darkness. The German version, however, fosters a distancing through not only the reproduction of a stereotypical Andalusia that highlights its difference from Germany (including a need to resort to Spanish loan words such as torero ) but also, and more particularly, an emphasis on Spanish identity as performance, and

in Screening songs in Hispanic and Lusophone cinema
Hyangjin Lee

Who is responsible for the national division of Korea? This is the central question for contemporary Koreans in defining their identity as a nation. Contemporary Koreans have a strong sense of nationhood since the peninsula had been ruled by a single polity since being unified in 668 by Shilla, one of the three ancient Korean kingdoms. 1 Moreover, the boundaries of this single polity coincided with

in Contemporary Korean cinema
London River and Des hommes et des dieux
Gemma King

order to better understand the more complex and uneven rhizomorphic structure within which individual and collective diasporic identities, histories and cultures are formed and continue to evolve. (2010: 4) The unanchored language is polycentric; it can serve a range of purposes in a multitude of geocultural spheres and is freed from historically hierarchical power dynamics. London River reveals MUP_King_Printer.indd 157 22/06/2017 11:03 158  Decentring France the capacity for the French language to serve as a diplomatic and polycentric language for the film

in Decentring France
Queer phenomenology, and cultural and religious commodifi cation in Hanif Kureishi’s My Beautiful Laundrette (1985) and The Buddha of Suburbia (1990)
Alberto Fernández Carbajal

H ANIF KUREISHI (b. 1954) has long been considered one of the most prominent literary figures of postcolonial Britain, particularly due to his intersecting explorations of issues of national identity, race, ethnicity, class, and sexuality. Kureishi’s work has long drawn attention to the racial and sexual biases of the dominant white British majority. Although Kureishi’s artistic beginnings were linked to the stage, he rose to global prominence in 1985 with his Oscar-nominated script for My Beautiful Laundrette , a financially modest

in Queer Muslim diasporas in contemporary literature and film
Heather Norris Nicholson

. 76 For Arctic missionary settings, see P. G. Geller, ‘Into the glorious dawn’; for post-colonial insights see also A. Motrescu, ‘British colonial identity in amateur films’, and ‘Private Australia’. 77 M. Roepke, Privat-Vorstellung. Heimkino in Deutschland vor 1945 [ Private Screening: Home Cinema in Germany

in Amateur film