Search results
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 golden age 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
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
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
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 Golden Age 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 author-narrator in
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
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.
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.
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 Golden Age of Newspapers Was the Exception Not the Rule ’, Nieman Lab , 2 May , www.niemanlab.org/2018/05/why-the-golden-age-of-newspapers-was-the-exception-not-the-rule/ (accessed 2 September 2018) . UN Security Council ( 2016 ), Interim Report of the Panel of Experts on South Sudan Established Pursuant to