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As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Matthew Scribner

Columbus as ‘discoverer’, they also can be used to replace Columbus with Leif and thereby reproduce the Eurocentrism that is the problem with Columbus in the first place. To see how critics of Columbus have dealt with this problem, I surveyed several works of history, especially popular history, which is crucial to understanding how historical memories are produced and function. I restricted myself to works that criticise aspects of Columbus’s legacy and that date to no earlier than the second half of the twentieth century. 3 I learned that some critics do indeed

in From Iceland to the Americas
Abstract only
Robert H. MacDonald

by a gold-digger, Africa by a Cape Colony settler, and Canada by a trapper and a ‘Red’ Indian. 1 Though these tableaux at first sight seem unexceptional, they take their meaning from an elaborate and comprehensive symbolism. By the end of the nineteenth century popular history told a new story of the past. It made an argument, it gave an explanation. It was in essence, history turned into myth, where myth, in

in The language of empire
Jane Martin

war and peace. This socialist woman had first-hand experience of inequality and was determined to produce a fairer world. Looking across Labour’s first century, Jon Lawrence shows the importance of party mythology in the construction of political identities within the twentieth-century Labour Party. However, Mary’s activism is quite 208 Making socialists lost to historical view in the popular histories, the ‘myths’ that Labour Party activists have internalised about their party’s past. The context for her story is the ‘foundation myths’ about the ‘early days

in Making socialists
Jonathan Chatwin

This chapter tells the popular history of the Gongzhufen intersection and discusses the Communist’s initial plans for the redevelopment of the city post-1949.

in Long Peace Street
Imperial and colonial histories
Emma Robertson

academic and popular histories of chocolate, I examine archival evidence and secondary literature to assess the nature of British firms’ involvement in the purchasing of cocoa. I explore the daily operations of the Rowntree-Fry-Cadbury buying agency in Nigeria and offer some insight into the experiences of staff employed by the British chocolate manufacturers. These histories, rarely told, must inform

in Chocolate, women and empire
Abstract only
Jonathan Rayner

construction of a consensual popular history. In this way, it is the polar opposite of what Robert Rosenstone defines as the post-modern history film, in that, far from opening up past events for alternative interpretations, they reaffirm authorised, conclusive readings of history for normative ideological purposes. These films aim at an ‘integration, synthesis and totality’ of ‘History’ rather than a problematic fragmentation of ‘histories’, and engage not in a ‘continuous playing with the memory’, but a replaying of the memory’s official meaning.19 The obvious utility of

in The naval war film
Open Access (free)
Memory and popular film
Paul Grainge

and its structures of belief, Memory and popular film is crucially concerned with the questions of (American) cultural identity that derive from this relationship. The book is organised in three main sections. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The four chapters in Part I

in Memory and popular film
Abstract only
China in children’s periodicals
Kathryn Castle

not a loss of profit, but rather the loss of respect and potential influence. In 1913, from the imperial perspective, China’s opium addicts held little concern either for the popular history or for the ‘progressive’ elements within China itself. 3 This article also cast some light on attitudes toward the Chinese soldier, reflecting opinions which had been current in Britain since the Sino-Japanese War

in Britannia’s children
James W. McAuley
Máire Braniff
, and
Graham Spencer

reinterpreted to become part of now and a determinant for what lies ahead. Unlike historical analysis, memory offers a way to discuss the future and, in turn, how we might live better. Memories of past events are relayed in several ways, for example through popular culture, the media, in demonstrations in the public sphere, political speeches and pamphlets, as well as in narratives, folk tales, stories and popular histories, and local history events. It is through such mechanisms that existing memories are often transmitted across generations in ways that

in Troubles of the past?