The chapter reflects on the work of memory scholars. Inspired by a reading of
Chris Marker’s film La Jétee, it explores concepts of time. La Jétee offers
contrasting fantasies of the future, whilst also offering glimpses of a time
that builds itself around us. The chapter shows that, despite the way
Marker’s film complicates notions of a linear temporality and a better
future, those notions return to haunt much scholarship on memory. I draw on
Eric Santner’s notion of an escape – not from the everyday, but into the
everyday – and ask whether such an escape is countenanced in the academic
This chapter pursues the argument that both Wall Street: MNS and Savages have rather more to say about money and capitalism as it is practiced than many critics acknowledged. These recent films articulate a particular kind of moral collapse that is different from the moral implosions examined in Wall Street, Talk Radio and Natural Born Killers. While these earlier productions espoused a range of ideological commentaries about individual responsibility and even personal honour, framed within questions about institutional justice and collective action, the more recent films give less emphasis to these concerns and instead foreground a form of retribution that almost revisits the traditional notions of frontier ethos and Darwinian laws of nature.
Negotiating nursing explores how the Queen Alexandra's Imperial Military Nursing Service (Q.A.s) salvaged men within the sensitive gender negotiations of what should and could constitute nursing work and where that work could occur. The book argues that the Q.A.s, an entirely female force during the Second World War, were essential to recovering men physically, emotionally and spiritually from the battlefield and for the war, despite concerns about their presence on the frontline. The book maps the developments in nurses’ work as the Q.A.s created a legitimate space for themselves in war zones and established nurses’ position as the expert at the bedside. Using a range of personal testimony the book demonstrates how the exigencies of war demanded nurses alter the methods of nursing practice and the professional boundaries in which they had traditionally worked, in order to care for their soldier-patients in the challenging environments of a war zone. Although they may have transformed practice, their position in war was highly gendered and it was gender in the post-war era that prevented their considerable skills from being transferred to the new welfare state, as the women of Britain were returned to the home and hearth. The aftermath of war may therefore have augured professional disappointment for some nursing sisters, yet their contribution to nursing knowledge and practice was, and remains, significant.
The chapter examines the changes to the dominion of nursing work on active service overseas. The chapter first explores the extensions to the nursing role, most particularly the care of wounds and burns. This is followed by a discussion of the expansion of nursing duties into those that had hitherto been the domain of medicine. These roles include the commencement and management of blood transfusions, surgical work and anaesthesia. Finally the chapter considers ‘new work’, the most critical of which was the administration and use of penicillin. The constantly shifting requirements of war nursing prevented Army nurses from remaining in a professional comfort zone of accepted roles and regimes. The experience of living with uncertainty may have caused anxieties for some, but the active participation in new treatment modalities suggests that nurses who went to war were keen to move beyond the normal boundaries of nursing practice and many relished the opportunity to do so. The chapter argues that the developments in practice and the increased confidence nursing sisters displayed with this new work altered their working relationships with medical officers from one of deference to one of collegiality, enabling more productive decisions for their soldier-patients’ care.
Military success in war was contingent on men sustaining a determination to fight. Persuading men to continue fighting or returning them to combat after illness or injury depended on maintaining their morale. The use of female nurses in upholding this resolve was integral to the war effort. The chapter explores the value of the presence of women in hospital wards and in social environments on active service overseas. It considers the occasional antipathy of military authorities and male colleagues to the location of female nurses in war zones. However, it is argued through the provision of expert clinical care, domestic acumen and the use of their ‘female-selves’, nurses were able to salvage men in readiness to return to battle. Nursing sisters thus created a space for themselves in frontline duties. However, the chapter argues, this was not without its difficulties. As single, white women in far-flung places, this position situated nurses in a liminal place between the respectable European colonial wife and the ‘biohazardous’ local women. The chapter acknowledges these difficulties, but also demonstrates how the nurses negotiated their way through these contradictions to their advantage and for those in their care.
This chapter is inspired by Frantz Fanon’s autobiographical account in Black
Skin, White Masks of how the racist gaze makes him an object surrounded by
other objects. Its narrative charts the author’s intellectual move from an
attempt to fathom the world and how it works to an advocacy of what Fanon
sees as an everyday openness to each other. In recounting how the family
photograph as object survives the living body, and telling of the search for
a missing family member in the archives, it traces the interweaving of life
and thought over time. It is underpinned by an anger at objectification, and
reveals how the unknown has an impact on what and who we think we know.
There has been little attempt to place Margaret Rutherford (1892–1972) historically, other than in a trajectory or tradition of roles typically defined as ‘eccentrics’. Even Rutherford herself referred dismissively to ‘my usual dotty old lady stuff’. This chapter, however, engages with the paradox that ‘eccentricity’, which normally refers to unconventional views or behaviour, has its own set of theatrical characteristics and is, in fact, central to the English comic inheritance. A comparative analysis is made of some of the ‘classic’ female roles that Rutherford took on, alongside an exploration of some of the famous parts she initiated, in light of the work of other contemporaneous actresses who may be said to have carried on the eccentric tradition in their own distinctive ways.
Actresses, charity work and the early twentieth-century theatre profession
This chapter considers aspects of public charity work undertaken by actresses in the 1910s, focusing on their work selling for charitable causes within the commercial sector at Harrods department store in London. Charity labour has been overlooked in understandings of the theatre industry during this period, yet the considerable amount of voluntary work that actresses undertook was significant to the continuing improved social and cultural position of the British stage more generally. Charity work at home and overseas brought an increasing level of professionalisation to actresses’ work in the voluntary sector and wider recognition of the charitable activities they undertook.
Winifred Dolan worked as an actress, theatre administrator, teacher and producer. She outlined her early work in West End theatre in her memoir, A Chronicle of Small Beer, but this narrative does not cover her subsequent work as a drama teacher and producer of amateur theatre. This chapter examines Dolan’s West End practice as her formative experience and focuses on her subsequent career: teaching drama and designing suitable spaces for that teaching and for amateur productions. An analysis of the range of evidence left by Dolan reveals the rich and complex links between professional theatre work, the teaching profession and the amateur theatre movement in the first half of the twentieth century.
This chapter traces the evolution of Stone’s political consciousness and his articulation of America’s twentieth century outlook by revisiting JFK, the film that placed Stone centre-stage in this assault on establishment doctrine and routine. It then considers how that critique was honed in his subsequent feature films – W. - documentary work and in particular Comandante (2003) and South of the Border (2010). The chapter also revisits the debate about drama as history as well as locating Stone’s documentary work within that genre’s tradition and trends over recent years including the increasing presence of feature film aesthetics and entertainment values.