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Abstract only
Guy Austin

Fantasy cinema in France: from long neglect to new blood The privileging of director over genre in French film criticism – most explicitly in the politique des auteurs (see chapter 1 ) – has mitigated against the habitually formulaic genres that make up fantasy film: horror, fairy-tale and science fiction. Moreover, despite the pioneering work of Georges Méliès, and later of

in Contemporary French cinema
Peter Marks

, tortured or driven into madness. Sam works happily enough as a functionary in the Department of Records division of the Ministry of Information, although in his dreams he is an Icarus-like superhero who swoops through clouds in search of his dream girl. But Sam’s comfortable fantasy world is disrupted when an innocent man, Archibald Buttle, is mistaken for supposed terrorist, Harry Tuttle, and is then

in Terry Gilliam
Reconceptualising British landscapes through the lens of children’s cinema
Suzanne Speidel

8 Fantasy, fallacy and allusion: reconceptualising British landscapes through the lens of children’s cinema Suzanne Speidel The British Landscape, more than almost any other, save perhaps that of the Netherlands, has been shaped by humans. The countryside is a fabrication, an artifice, reinvented every so many years or generations to match and mirror the latest currents in farming, industry, road building or the rush of people to and from the city. Even seemingly unchanged landscapes, like those of the Lake District, are not exactly still. Once, before

in British rural landscapes on film
James Greenhalgh

1 Fantasies of urban futures In 1945, in common with many other British towns and cities, Hull and Manchester produced comprehensive, detailed redevelopment plans. Unlike pre-war plans, which tended to be somewhat piecemeal, usually dealt with specific areas of cities and were rarely published, a significant number of the post-war plans for cities and larger towns were printed in impressive books, garnering much press attention and were accompanied by well-attended public exhibitions.1 These Plans were a spectacular mix of maps, representations of modern

in Reconstructing modernity
Social commentary of 1980s Britain in Clive Barker’s Weaveworld
Edward Timothy Wallington

When Clive Barker's Weaveworld was first published in 1987, it was quite understandably consigned to the genre of fantasy/horror, and the book is undoubtedly a remarkable and thrilling example. However, when read from a different perspective, the tale transcends the immediate limitations of its genre to provide a thought-provoking and

in Clive Barker
Richard Rushton

6  Filmic reality and ideological fantasy  8  Ideological reality: Independence Day (Roland Emmerich, 1995) F or film studies, the key insight that can be derived from the writings of Slavoj Žižek is that reality cannot be separated from fantasy. Films do not occupy a domain of fantasy that can be straightforwardly distinguished from reality; films do not provide audiences with fantasy escapes from reality; films do not provide us with illusions of reality. Rather, if films are fantastic, then they are fantastic in the same way that reality itself is fantastic

in The reality of film
Abstract only
James Chapman

2 Fantasy factories The success of The Adventures of Robin Hood is often credited with inaugurating the cycle of costume adventure series that followed in the late 1950s. This was the ‘golden age’ of the television swashbuckler as a cycle of adventure series came forth from the British studios at Nettlefold, Twickenham and Elstree: The Adventures of the Scarlet Pimpernel, The Count of Monte Cristo, The Adventures of Sir Lancelot, The Buccaneers, Sword of Freedom, William Tell, Sir Francis Drake. ITP, which had a hand in all those series, led the way, though

in Swashbucklers
The Other side
Author: Adrian Millar

Conducting an analysis of some of the most candid interview materials ever gathered from former Irish Republican Army (IRA) members and loyalists in Northern Ireland, this book demonstrates through a psychoanalysis of slips of the tongue, jokes, rationalisations and contradictions that it is the unconscious dynamics of the conflict — that is, the pleasure to be found in suffering, failure, domination, submission and ignorance, and in rivalry over jouissance — that lead to the reproduction of polarisation between the Catholic and Protestant communities. As a result, it contends that traditional approaches to conflict resolution which overlook the unconscious are doomed and argues that a Lacanian psychoanalytic understanding of socio-ideological fantasy has great potential for informing the way we understand and study all inter-religious and ethnic conflicts and, as such, deserves to be further developed in conflict-management processes. Whether readers find themselves agreeing with the arguments in the book or not, they are sure to find it a change from both traditional approaches to conflict resolution and the existing mainly conservative analyses of the Northern Ireland conflict.

Sources of anti-Americanism
Mitchell B. Reiss

11 Between facts and fantasies: sources of anti-Americanism Ambassador Mitchell B. Reiss Introduction When Ambassador Mitchell B. Reiss addressed the subject of ‘Between facts and fantasies: sources of anti-Americanism’ on 21 May 2006, he approached this highly topical, and controversial, issue from the distinctive perspective of having combined personal experience of diplomacy and peacemaking with a rigorous academic background and training. It is a distinctive feature of American political life that talented individuals can combine careers in the academy with

in Peacemaking in the twenty-first century
Fairytale, fable and myth in the Demy-monde
Darren Waldron

3 Fantasy and its disenchantments: fairytale, fable and myth in the Demy-monde ‘Enchanté’, which, as seen, is the most commonly used adjective to describe Demy’s musical cinema, also applies to varying degrees to his adaptations of fairytale, fable and myth. Yet, congruent with his defiance of expectations, he fuses the beguilement anticipated of such forms with disillusionment. On the surface, his screen adaptations of Charles Perrault’s Peau d’âne, Robert Browning’s The Pied Piper and Robert Graves’s version of Orpheus’s descent into the underworld appear

in Jacques Demy