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Editor: Robert Fish

Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.

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Andrew J. May

warfare’. 14 It was at this period too that a popular motto was attributed to U Tirot Sing – ‘Better the death of a free commoner than the life of a chief who is a slave’. Hamlet Bareh contributed a volume on U Tirot Sing to the ‘Builders of Modern India’ series, placing the local hero (as a Napoleon or Tipu Sultan) in the panoply of national freedom fighters, while other publications were inspired by

in Welsh missionaries and British imperialism
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Local Hero and the location of Scottish cinema
Ian Goode

the heroism of the film for Bill Forsyth and for Scotland: ‘The local press is exceeded by the local tourist board: living in a land beyond self-parody The Scottish Tourist Board and John Menzies: “invite you to experience the rich delights of Scotland in a Local Hero competition, with a prize of two weeks in a Banff Springs Hotel, where the Local Hero production team stayed”’ (Caughie, 1983 : 45

in Cinematic countrysides
Jonathan Smyth

massive bombardments ordered by Fouché and Collot d’Herbois during the revolt. Fortunately the city already had a vast edifice available on the Place Egalité which had been constructed for the Fête de la Réunion in the previous year. This consisted of a stairway leading to a platform on either side of which were altars, one to the Martyrs of the Revolution, the other dedicated to the memory of the local hero, Chalier. This meant that it was only necessary for two new constructions to be made: that of the statue of ‘Hideous Atheism’, placed between the two altars on the

in Robespierre and the Festival of the Supreme Being
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Louis Rawlings

appearance at Delphi of the local heroes Autonous and Phylacus in 480 BC (8.38–9) who helped repulse the Persian army. Some two 3033 The ancient Greeks 180 12/7/07 13:36 Page 180 The ancient Greeks at war hundred years later, during a Gallic attack on Delphi, it is reported that Phylacus again manifested to contribute to the overthrow of these invaders (Paus. 1.4.4, 10.23.3). Such stories appear to be due to the increased trauma and terror caused by the onslaught of deeply alien and exotic barbarians. However, the occurrence of supernatural manifestations during

in The ancient Greeks at war
Regional broadcasting and identity in “Ulster”
Thomas Hajkowski

itself to include programs dealing with the more sectarian aspects of Northern Ireland’s history. Despite his status as a national hero, BBC NI neglected to commemorate the legacy of William III with a large-scale feature program. Wales and Scotland made extensive use of their history and tradition as fodder for feature programs. Scotland produced a number of features on the Jacobite rebellions, Mary, Queen of Scots, Wallace, and Robert the Bruce; many Welsh features focused on the local heroes of the mining communities and the Welsh rebel Owain Glyndŵr. In contrast

in The BBC and national identity in Britain, 1922–53