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Film in the autonomous regions
Barry Jordan and Rikki Morgan-Tamosunas

Introduction Under Franco, especially in the early years, as the regime attempted to ‘rehispanicise’ the Spanish nation, regional languages, cultures and identities other than Castilian were effectively outlawed and forced underground. As we have seen, cultural life in Franco’s Spain would be conducted virtually exclusively in Castilian. In both practical and symbolic terms

in Contemporary Spanish cinema
Les Histoires d’amour finissent mal en général and Souviens-toi de moi
Carrie Tarr

If dominant French cinema has tended to maintain the hegemony of a white, patriarchal, eurocentric understanding of Frenchness, voices from the periphery, particularly those of filmmakers of Maghrebi descent, have turned French cinema into a site of struggle for constructions of French national identity based on the realities of France as a multicultural, multi-ethnic society. One of the most original voices to intervene in this arena was

in Reframing difference
Heather Norris Nicholson

amateur filmmaking in Britain. Directors, critics, actors and other film professionals praised how the amateur film movement had contributed to the development of national cinema. ‘Amateur filmmakers are a stimulus to the professional film industry, and provide a growing audience for whatever we endeavour to do that is mature, imaginative and experimental’, enthused John and Roy Boulting, the prolific twin-brother director

in Amateur film
R. S. White

royal way of life. But unlike Orlando in Shakespeare’s play, the reporter must remain simply a reporter while the princess accepts that she is professionally destined for higher things. In the following year Hepburn starred in Sabrina (1954), which turns on a more physical kind of transformation, though one more universal than disguised identity – the inevitable yet unexpected biological changes as

in Shakespeare’s cinema of love
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Darrell M. Newton

was The Wire. As a result Elba has been cast in a new BBC cop show written by a team of White writers with strong soap connections. It all feels more derivative.98 Separate interviews on these and related matters conducted with AfricanCaribbean/Black British working within or analysing British television determined that, despite differences in socio-economic lifestyles, life histories, and post-structural identities, highly similar beliefs about the challenges confronting Black British media professionals existed. Analogous concerns regarding television

in Paving the empire road

Spain as an entity and Spanish cultural identity are no less difficult to pin down as the concept of the nation state is simultaneously assailed by political, economic and cultural globalisation and the fragmentation of the state by the demands of its autonomous communities. This book presents a coherent picture of the main narrative, thematic, stylistic and representational trends which have characterised the recent cinema produced in Spain. It seeks to explore the obsession of Spanish cinema with the past and its role as part of a wider recuperation industry. The book examines the varied forms of historical cinema ranging from literary adaptation and period drama to retro thriller and musical. It offers an analysis of other main forms of genre cinema which have dominated the commercial industry and the popular imagination in Spain since the 1970s. The book explores constructions of gender and sexuality across a wide range of examples taken from a variety of contemporary movies. It also focuses on cinema in the autonomous communities, mainly Catalonia and the Basque Country. The period 1993 to 1994 was perhaps one of the most difficult for the film industry in post-Franco Spain, particularly in relation to production totals and audience figures. The setting Institut de Cinema Catalá offered a new forum for debate and inaugurated the first of a number of attempts to define what Catalan film and a Catalan film industry ought to be doing and how Catalan professionals should develop their sector.

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Meaning and practice, 1927–77

Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the wealthy, following the launch of lightweight portable cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level.

The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book explores aspects of family life, working experience, locality and social issues, leisure time and overseas travel as captured by filmmakers from northern and northwest England. This study of visual memory, identity and status sets cine camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces as digitisation widens access and transforms contemporary archive practice.

Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Expendable Expendable?
Natasha Parcei

which the physical labour of the professional mercenary aligns with the traditional physical work associated with a working-class identity (Boyle and Brayton 2012 ). Therefore, the biological decline of the ageing body signifies a concurrent decline in professional value, and in turn societal value. Intertextually, this also aligns with the ageing action hero, whose cinematic value is situated in

in Crank it up