Christopher Tyerman

5 Scholarship, politics and the ‘golden age’ of research A generation after Michaud’s death, the creation of an academic society devoted to crusade studies, La Société de l’Orient Latin, bore witness to a transformation of the subject. Founded by the wealthy gentleman scholar Paul Riant (1835–88), the Society produced two initial volumes of research materials, the Archives de l’Orient Latin, in 1881 and 1884 as well as later sponsoring publication of texts and producing a regular if short-lived Revue de l’Orient Latin (12 volumes, 1893–1911). Contributors to

in The Debate on the Crusades
Stuart Hanson

domination of cinema exhibition by the ‘duopoly’ of Rank and ABC, who would tighten their control of British cinema-going throughout the period. ‘Golden Age’ or golden myth? During the war and up until 1946 over four-fifths of the population went to the cinema at least once a week, with a substantial portion visiting the cinema several times a week. 3 Although cinema audiences were to decline every year

in From silent screen to multi-screen
Margaret Kohn

golden age of television, I probably would not be pursuing particularly decadent pleasures, but I might well be surfing the Internet in a state of semi-distraction. Rousseau’s second criticism, too, was aimed at a particular time and place. The social experience of the eighteenth century theater was highly stratified and the physical arrangement of space enabled a very public

in Cinema, democracy and perfectionism
A history of cinema exhibition in Britain since 1896
Author: Stuart Hanson

The exhibition of films has developed from a lowly fairground attraction in the 1890s to the multi-million pound industry of today. This book charts the development of cinema exhibition and cinema-going in Britain from the first public film screening in February 1896 through to the opening of 30-screen 'megaplexes'. It recounts the beginnings of cinema and in particular its rapid development, by the eve of the Great War, as the pre-eminent mass entertainment. The book considers developments of cinema as an independent entertainment, the positioning of cinemas within the burgeoning metropolitan spaces, the associated search for artistic respectability, the coming of sound and a large-scale audience. The period from 1913 to 1930 was one in which the cinema industry underwent dramatic restructuring, new chains, and when Hollywood substantially increased its presence in British cinemas. Cinema-going is then critically analysed in the context of two powerful myths; the 'Golden Age' and the 'universal audience'. The book also considers the state of cinema exhibition in Britain in the post-war period, and the terminal decline of cinema-going from the 1960s until 1984. It looks at the development of the multiplex in the United States from the 1960s and examines the importance of the shopping mall and the suburb as the main focus for these cinema developments. Finally, the book discusses the extent to which the multiplex 'experience' accounts for the increase in overall attendance; and how developments in the marketing of films have run in tandem with developments in the cinema.

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Pictures in the margins
Author: Dolores Tierney

From 1943 until 1950, Emilio Fernández was regarded as one of the foremost purveyors of 'Mexicanness,' as one of the most important filmmakers of the Mexican film industry. This book explores the contradictions of post-Revolutionary representation as manifested in Fernández' canonical 1940s films: María Candelaria, Víctimas del pecado, Las abandonadas, La perla, Enamorada, Río Escondido, Maclovia and Salón Mexico. It examines transnational influences that shaped Fernández' work. The book acknowledges how the events of the Mexican revolution impacted on the country's film industry and the ideological development of nationalism. It takes note of current tendencies in film studies and postcolonial theory to look for the excesses, instabilities and incoherencies in texts, which challenge such totalizing projects of hegemony or cultural reification as 'cultural nationalism' or ' mexicanidad.' The book looks at how classical Mexican cinema has been studied, surveying the US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses. Fernández's Golden Age lasted for seven years, 1943-1950. The book also examines how the concept of hybridity mediates the post-Revolutionary discourse of indigenismo (indigenism) in its cinematic form. It looks specifically at how malinchismo, which is also figured as a 'positive, valorisation of whiteness,' threatens the 'purity' of an essential Mexican in María Candelaria, Emilio Fernández's most famous indigenist film. Emilio Fernandez's Enamorada deals with the Revolution's renegotiation of gender identity.

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Jim Thompson’s The Killer Inside Me and the Crooked Game of Post-World War II America
Jamie Brummer

Though presenting itself as pulpy example of hardboiled American fiction, Jim Thompson’s The Killer Inside Me opens up in important and unexpected ways when read as a subversive Gothic novel. Such a reading sheds light on a range of marginalized characters (especially women and rural peoples) who often remain shadowed by more conventional readings. Reading the novel as Gothic also highlights thematic concerns which counter the halcyon image of post-World War II America as a golden age and reveal instead a contemporary landscape fraught with violence, alienation, and mental instability.

Gothic Studies
Mel Bunce

. ( 2018 ), ‘ Why the Golden Age of Newspapers Was the Exception Not the Rule ’, Nieman Lab , 2 May , (accessed 2 September 2018) . UN Security Council ( 2016 ), Interim Report of the Panel of Experts on South Sudan Established Pursuant to Security Council Resolution 2206 , (accessed 5 August 2018) . Vosoughi , S. , Roy , D. and Aral , S. ( 2018 ), ‘ The

Journal of Humanitarian Affairs
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Peter Yeandle

objective of instilling national pride: a national curriculum, it is argued, should serve the ends of state. The suggested solution, now as in the 1980s, is a return to a ‘golden age’ of history teaching: a golden age characterised by a content-led curriculum, devoid of educational theory, and intended primarily to promote national identity. 2 One prompt for this study, then, is the desire to enquire what

in Citizenship, Nation, Empire
Open Access (free)
Memories of cinema-going in the ‘Golden Age’ of Hollywood
Sarah Stubbings

generational memories of cinema-going in what has been discursively construed as the ‘Golden Age’ of cinema, a period figured around the Hollywood studio era of the 1930s and 1940s. As a medium-sized English city, Nottingham’s cinema fans of the 1930s and 1940s could choose from over fifty cinemas and the city’s current population includes a substantial number who remember trips to Nottingham’s cinemas in

in Memory and popular film
Myth or reality?
Donnchadh Ó Corráin

2 Island of saints and scholars: myth or reality? Donnchadh Ó Corráin There is a view that Ireland experienced a golden age in the early middle ages, though the term is used sparingly by more recent writers. Peter Harbison’s splendid study of Irish art, 600–1200,1 is an exception in this as in other things. Historians of Northumbria’s early medieval achievements have little inhibition about the expression,2 nor had earlier generations of Irish historians.3 The burgeoning Cullenite Irish Catholic Church of the later nineteenth century saw itself, without self

in Irish Catholic identities