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Maria Rovisco

Portuguese national space, where political borders have remained substantially unchanged since the late Middle Ages, and where the attainment of early statehood, and the absence of conflicts with neighbouring countries and of ethno-linguistic minorities favoured the model of the homogenous nation (Martins, 1971 ). Mapping the countryside in European ‘films of voyage’ The tradition of

in Cinematic countrysides
Hyangjin Lee

and social domains through such economic indicators as occupation, income and ownership as well as through their relationship to the modes of production. As will be demonstrated below, however, the concept of class in Korean society depends on not only the economic system, but also on the cultural legacies of the Confucian occupational order from the traditional period. In cultural criticism, a widely cited Marxist definition

in Contemporary Korean cinema
James Zborowski

in one film in particular: Anatomy of a Murder. Distance is also a crucial factor to consider when we contemplate media as media of communication as well as media of expression. Most media alter how we perceive and traverse distances, both spatial and temporal, alterations which have cultural and social implications. My exploration of this topic is interwoven with my exploration of The Man Who Shot Liberty Valance. These two main parts of the chapter are bracketed by more general discussions of matters of distance in relation to the medium of film – principally

in Classical Hollywood cinema
The Pony Express at the Diamond Jubilee
Heidi Kenaga

American producers (especially Paramount) cultivated this cycle with a view toward exploiting its public relations utility. By transforming the erstwhile materials of dime novels into ‘authentic’ documents of national culture, the studios sought to legitimise their market dominance and burgeoning social power. As such, I argue that these films should be reconceptualised as key commodities of the heritage

in Memory and popular film
Generic hybridity and gender crisis in British horror of the new millennium
Linnie Blake

Bedlam (1994) as ‘falling somewhere between The Silence of the Lambs and Flatliners;’5 Proteus (1995) as ‘Alien meets The Thing’6 and Darklands (1996) as ‘a cross between Rosemary’s Baby and The Wicker Man.’7 By the 1990s, it seems, the British horror film was little more than a self-reflexive exercise in pastiche; most often of earlier American texts and their attendant ideologies. Having been legislatively recognised as potentially offering a potent challenge to the prescriptively normative and intrinsically hegemonic formulation of British social and cultural life

in The wounds of nations
Bill Marshall

. itineraries of frenchness 103 itineraries which lead in different directions (including potentially back from where he came), routes symbolically or mentally barred. At the same time, the ‘silence’, solitude and ‘desert’ of these seven minutes contrast dramatically with the tense, fast-moving, moneydetermined, aggressive social and spatial relations that prevail in the city, defamiliarising them, suggesting that the characters’ emotional as well as physical itineraries will not end here. The next significant journey in the film is to Spain, where Alice accompanies Martin to

in André Téchiné
Lynn Anthony Higgins

l’époque et sur un personnage qui me plaît bien, parce que c’est un personnage qui était en avance sur son temps et qui n’a pas eu la force ni la volonté ni la possibilité d’accomplir les choses dont il rêvait. […] Je trouve que c’est un personnage prodigieusement moderne. 1 This statement highlights the way Tavernier blends emotion with irony and even social critique. It also conveys his understanding of history as a laborious and disjointed stumbling toward modernity. Sociologists use the term

in Bertrand Tavernier