working-class origin people from cultural occupations is not a new phenomenon. According to our data and analysis, it has been an issue for at least forty years. The absence of working-class origin people is matched by a long-standing dominance of those from professional and managerial backgrounds. It is therefore likely that there was no goldenage for social mobility in the cultural sector.
Our analysis has established that the substantial changes in the social origins of those working in core cultural jobs are driven by changes in the underlying social structure
Scholarship, politics and the
‘goldenage’ 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
domination of cinema exhibition by the ‘duopoly’
of Rank and ABC, who would tighten their control of British cinema-going
throughout the period.
‘GoldenAge’ 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
complex politics underpinning the
portrayal in women’s fiction of the figure of the writer and of
the act of writing itself.
I analyse Anam’s characterisation of Maya in the
novels A GoldenAge and The Good Muslim , which are set
against the liberation war of Bangladesh in 1971 and the political
turmoil of the 1970s and 1980s. I also examine the role of the
goldenage 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
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
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.
Jim Thompson’s The Killer Inside Me and the Crooked Game
of Post-World War II America
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.
This article offers the first comprehensive study of Manchester, John Rylands
Library, MS Latin 182, a twelfth-century codex formerly belonging to (and
possibly produced at) the Benedictine Abbey of (Mönchen-)Gladbach in Germany. I
begin with a full codicological and palaeographical analysis of the entire
manuscript, before moving on to a discussion of its contents. These include the
Venerable Bede‘s Historia ecclesiastica gentis Anglorum and the Continuatio
Bedae, as well as two hagiographical works copied at the end of the manuscript.
I then propose a new possible context of reception for Bede‘s Historia
ecclesiastica during the twelfth century, one that interlinked with the
prevalent discourses on secular ecclesiastical lordship and monastic reform at
Gladbach, as well as, perhaps, in Germany more widely. In doing so, I
essentially argue for the possibility that the Gladbach scribes and their
audiences may have used and understood the Historia ecclesiastica not only in
the conventional context of history and historiography, but also (and perhaps
equally important) as an example of the golden age of monasticism which during
the later twelfth century was re-framed and re-contextualised as both a
spiritual guide and a source of miracle stories.
D. (eds), Humanitarian
Photography: A History ( Cambridge :
Cambridge University Press ), pp.
47 – 63 .
Tworek , H. and
Hamilton , J.
M. ( 2018 ), ‘ Why
the GoldenAge of Newspapers Was the Exception Not the Rule ’,
Nieman Lab , 2 May ,
(accessed 2 September 2018) .
Security Council ( 2016 ), Interim Report of the
Panel of Experts on South Sudan Established Pursuant to