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Repetition, Innovation, and Hollywood‘s Hit Film Formula
Kathleen Loock

This article explores the rise of the Hollywood sequel in the 1970s and 1980s, analysing contemporary industrial and popular discourses surrounding the sequel, sequelisation, and film seriality. Drawing on recent sequel scholarship as well as a wide range of film examples and paratexts it examines how industry insiders, trade papers, and film critics tried to make sense of the burgeoning sequel trend. The ensuing discourses and cultural practices, this article argues, not only shaped the contexts of sequel production and reception at the time but also played into the movies‘ serialisation strategies and their increasingly self-referential manoeuvres.

Film Studies
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Author: Sue Harris

Whether one 'likes' his work or not, Bertrand Blier is undisputably an important and influential presence in modern French film-making. For those who would understand the nature and function of popular French culture, it has now become impossible to ignore his work. Blier's career began in 1957 as an assistant stagiaire, as it was still relatively conventional in the French film-making tradition. This book hopes to be able to start formulating some answers to the puzzle that is Blier's work. The aim is to identify strategies for finding one's way through a body of work, which has disconcerted spectators, to identify some reference points that the curious spectator can use as a map to navigate through Blier's preferred themes and stylistic techniques. One way of understanding the system of dramatic cohesion that unifies the action of Blier's films is to read it in terms of an 'absurdist' conception. The comic momentum of Blier's films relies on the elaboration of a system of images which might be termed 'festive-ludic' or 'anarchocomic'. His deliberate attempt to go beyond the conventional limits of gender representation is as important example of the many processes of narrative subversion. Discussions reveal that the key tropes around which Blier's work is structured point to an engagement with a tradition of popular discourse, translated into both content and form, which finds an echo in the wider cultural apparatus of the post-1968 period and which is all the more significant for its location in mainstream visual culture.

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Frederick H. White

diagnosed as an acute neurasthenic and struggled with various illnesses. He gained a reputation in the popular press for being mentally imbalanced, and a recurring theme of psychopathology in his creative works seemed to support this contention. Although Andreev publicly defended his mental health, he could not escape the popular discourse that constantly conflated his life and literary works. In fact, Andreev’s personal struggle with neurasthenia2 gave him a unique perspective on the discourse of degeneration theory, which was prevalent in contemporary Russian culture

in Degeneration, decadence and disease in the Russian fin de siècle
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Sue Harris

culturally marginalised traditions which have their own aesthetic and historical value. The discussion will reveal that the key tropes around which Blier’s work is structured point to an engagement with a tradition of popular discourse, here translated into both content and form, which finds an echo in the wider cultural apparatus of the post-1968 period, and which is all the more significant for its location in mainstream visual

in Bertrand Blier
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‘Say Parsley’
Rachael Gilmour

, but also schismatic – along lines of race, class, gender, sexuality, generation, proficiency, beliefs about language, and so on. Language is one way we make judgements about each other. English’s historical relationship to empire, meanwhile, and to classed and regional power, is now also increasingly overlaid by anxieties about border security, and by political and popular discourses that articulate the relationship between language and national belonging in newly intensified ways. At such a moment, it becomes more important than ever to recognise literature

in Bad English
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Jill Kirby

understanding of stress. During the 1970s the popular discourse of stress saw an expansion of the categories of people who might be at risk of stress. However, while this was becoming more and more prevalent within popular and public discourse, it took somewhat longer for people to apply such conceptualisations to themselves, which also contributed to James’ failure to recognise his own stress initially. James’ explanation for his symptoms also revealed a desire for ambiguity. He labelled his experience as nerves ‘or something’ and then rephrased this to the contemporary term

in Feeling the strain
Popular and personal discourse in the 1960s and 1970s
Jill Kirby

population of the 1950s and 1960s illustrate the ways in which the concept of stress was becoming much more common within popular discourse and how ideas about stress were initially focused on certain sections of the population, revealing a continuity with much earlier ideas about status and nervous disorders. By examining newspaper coverage of stress between the 1950s and 1970s, this chapter shows how ideas about the causes and sufferers of stress became a visible part of popular culture and an explanation for certain types of negative experience. Analysis of personal

in Feeling the strain
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Heather Streets

uphill – through a battle zone that for anyone else would have been fatal. This book examines the nineteenth-century ideology of ‘martial races’ – the belief that some groups of men are biologically or culturally predisposed to the arts of war – in order to explore how and why Scottish Highlanders, Punjabi Sikhs and Nepalese Gurkhas became linked in both military and popular discourse as

in Martial races
Oliver Daddow

chapter has considered the mechanisms by which Europe has, historically, been heterotypified as a hostile Other in popular discourses on an ‘exceptional’ British identity. It did so by sketching some of the attitudes and opinions Blair and Brown felt they had to overturn to put their case for Europe. We first explored the basis of the well known ‘island story’, a geographical fact that critically shapes the psychocultural milieu within which the British think of themselves and their role in the world. We then worked through some of the less well aired cultural

in New Labour and the European Union
Anna Green and Kathleen Troup

subversive and contradictory nature of popular discourse. Foucault suggested that power is not purely hierarchical with rules imposed from above: rather it operates diffusely and locally. How is this paradigm of power visible in the story of Mrs Weldon? Do you find it a convincing method of interpretation in this specific case? In what ways can Mrs Weldon herself be seen at the intersection of several discourses about power and powerlessness in Victorian society? Walkowitz argued that ‘[b]oth sides engaged in a symbolic struggle, in a dialectical battle of words and

in The houses of history