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The author discusses his personal relationship with James Baldwin, recounting their collaboration on a film script for an adaptation of Giovanni’s Room.
. Yet, narrating this recent history remains fraught with contention. One medium favoured by a number of filmmakers is the docudrama with its promise of factuality. Films such as H3 (Les Blair, 2001), Bloody Sunday ; Omagh (Pete Travis, 2004); Hunger (Steve McQueen, 2008); Five Minutes of Heaven (Oliver Hirschbiegel, 2009); The Journey (Nick Hamm, 2016) all draw on real events and people and most share a desire to set the historical record straight. Bloody Sunday and Omagh are campaigning films, aimed at drawing public attention to miscarriages of
will investigate the oral testimonies that expose these alternatives, as well as exploring how three films about the H-Blocks have tried to present its history in more enabling ways. Terry George’s Some Mother’s Son (1996), Les Blair’s H3 (2001) and Steve McQueen’s Hunger (2008) have all attempted to give the prison’s frequently abstracted events a material form. Unlike the often depopulated terrains of photographic engagements with the prison, these cinematic responses are able to capture the prison’s principal actors, as well as the disordered temporalities they
fact that a director like Steve McQueen can make a break into Hollywood filmmaking, is it a good thing? Coming out of the tradition of independent filmmaking? KO: Some Black members of the Screen Actors’ Guild in America described it [ 12 Years a Slave ] as ‘slavery porn’. There was a big row over it. Maybe Django
did the right thing by that wee foal’ The directorial debut of British visual artist Steve McQueen, Hunger brought a radical arthouse sensibility to one of the most controversial passages of the Northern Ireland conflict. A film in three discrete parts, the opening sequence offers the viewer a ‘visceral’ 30 reminder of the squalor and violence that accompanied the campaign for recognition as political prisoners initiated by republican inmates in 1976. The film opens with some sparse text providing a little context
been a universally held viewpoint. As Nina Danino argued in a 2014 essay on the place that visual artists such as Steve McQueen occupy in the British film industry, ‘the film world is still quite suspicious of art as film, film as art, artists’ films and other varieties of this relationship’. 30 But film industry insiders are not alone in harbouring this suspicion, and many critics and viewers also characterise art cinema as ‘aesthetic, inauthentic and self-indulgent’. 31 This is brilliantly illustrated in ‘Sunday for Seven Days’, an episode of Ray Galton and Alan
The Great Escape , with Steve McQueen, for example, or leaving the bedroom door open so that she can continue to see what is happening in the other room. But Frédérique also exercises her authority as elder sister, as when she stops Anne having a peppermint soda in the local café (so justifying the film’s title) or when she punishes Anne for misbehaving. A studious pupil, Frédérique’s initially complicit relationship with
equal billing with Steve McQueen and James Garner. The Great Escape, based on the book by Paul Brickhill, concerns the daring escape plans by Second World War prisoners to escape from the notorious Stalag Luft III prison in Sagan. The film marked an acting career high with Attenborough declaring that it provided ‘the massive break which was to elevate my own recently abandoned acting career into a whole new dimension’.45 The part also paved a path to Hollywood where Attenborough played roles in three films. The first was as Lew Moran, a navigator to James Stewart
add flesh to the abstract picture to create a paradigm, perhaps thinking of Steve McQueen with his baseball in The Great Escape . If we take this image, and run through the reference list, we might be able to whittle down what types of privacy he has (if any). Informational privacy? Probably not much, and solitary confinement won’t add anything to it. Decisional privacy
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.
This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.