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Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.

Queering Alien Resurrection
Brenda Boyle

The critical response to Alien Resurrection marked a departure from negative responses to Alien3. Oblivious to the films parting from the trilogys characterization as ‘simultaneously feminist and gynophobic’, some critics remained steadfast to that trope, insisting ‘Ripley is still the same person.’ Critics of the trilogy determined its sub-text to be concerned with gender and reproduction and went on to assert the same of Alien Resurrection. Where the trilogy offered a vision of Ripley,through a heterocentric lens, with blurred but visible divisions between monstrous and human, (and what distinguished them had to do with means of reproduction), AlienResurrection eradicates boundaries so it becomes impossible to determine whether ‘normal’ human or monster, can even exist in this world. The issue of sexuality becomes paramount to the issue of reproduction and gender. In the course of the trilogy, gender is made obsolete; Alien Resurrection finishes the job in rendering terms of sexual normalcy immaterial. The alien queen who has mutated into a parthenogenetically reproducing creature is described as ‘perfect’; what kind of meaning can that sort of reproduction or creature have in a heterocentric world? This world and its inhabitants are beyond heterosexuality, and perhaps beyond sexuality as we know it. Consequently, reconsidering AlienResurrection through a queer lens which inquires into sexuality offers a fuller and more fruitful reading than does one through gender or the biological labyrinth of reproduction.

Gothic Studies
An Interview with Rainer Schlösser, Spokesperson of the Association of the Red Cross Museums in Germany (Arbeitsgemeinschaft der deutschen Rotkreuz-Museen)
Sönke Kunkel

should mention that the museum is also a collecting institution. That’s something that many people tend to overlook: as a museum, we collect, store, and archive parts of the material and written record of the Red Cross. So we also have a library which serves researchers. SK: Ah, that’s interesting. So you’re involved in a wide spectrum of activities. Still I am wondering somewhat about, let’s say, the general significance of the institution of the Red Cross museum. Isn’t there something old-fashioned and outdated about museums in this world of online communication

Journal of Humanitarian Affairs
Open Access (free)
Brad Evans

of selfhood and right to participate in this world. Moreover, violence is absolutely integral to the markings of subjectivity, setting apart claims about identity, along with notions of civility and barbarism. Violence is always mediated through expressed dichotomies between acceptable and unacceptable behaviours, between the right to punish and the intolerable transgression, between the force of normative law and the terror of the minority. In fact, there is an entire political ecology at work in the very diagnosis of something as political violence in itself

Journal of Humanitarian Affairs
Abstract only
Brian McFarlane and Deane Williams

filmmaking, in particular the New Waves of France and Germany in the 1960s and 1970s. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. In this chapter we will focus on Welcome to Sarajevo , Wonderland , In This World and The Road to Guantánamo , with a brief reference to 24 Hour Party People (discussed at greater length in chapter 5 ) as

in Michael Winterbottom
Abstract only
Andrew Dix

within transnational cinema texts themselves’ (Ezra and Rowden, 2006 ; 7). This is very true of the film that provides this chapter’s case study. Case study: In This World (2002) Still tragically topical more than a decade after its release, In This World narrates the difficult, often covert journey of two Afghan youths from a refugee camp in northern Pakistan towards their intended destination of London. A red line periodically traced on a map indicates Jamal’s and Enayatullah’s progress (see Figure 31 ): overland from Pakistan to Iran and

in Beginning film studies (second edition)
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Doing what you want to do
Brian McFarlane and Deane Williams

budgets for it to not be too high a risk. That’s especially true of In This World and The Road to Guantánamo , which were made from such low budgets that people made money from them. 1 As the preceding chapters have indicated, the reviews, since the days of Butterfly Kiss and Jude , have tended to praise Winterbottom and the Revolution

in Michael Winterbottom
Abstract only
Brian McFarlane and Deane Williams

) 4 Kingdom Come on the move in The Claim (2001) 5 A lighter moment from In This World (2003) 6 A grim reminder of what life can be like In This World (2003

in Michael Winterbottom
Mind, soul and intellectual disability
Irina Metzler

all kinds of hardships (cold temperatures, starvation, hard physical labour) that the delicate upper classes can perceive. The fairytale of the princess and the pea is just at one extreme end of the spectrum that expresses such attitudes. Augustine on intellect Augustine could consider that while people with ID ‘may not be particularly valued in this world, they are at least part of the divine plan and as such human’. 43 God’s grace is accessible to anyone, regardless of their ability to reason and to think

in Fools and idiots?
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Brian McFarlane and Deane Williams

, came In This World and The Road to Guantánamo . In matters of theme and ideological preoccupation, it is possible to view it as the third in his series of films set in Asian countries (all are at least partly set and shot in Pakistan), where the threat of terrorism and the dubiety of western intervention create a perilous volatility. As one watches the alarming narrative of A Mighty Heart unfold, it is inevitable that

in Michael Winterbottom