positions them as accountable to no one, and no one as accountable for them. This could also possibly explain why Boxer’s critique of Rice did not trigger a media storm. I will continue to explore these threads in the next chapter by offering a critical reading of age, ageism, and singlism, as a potential source of invaluable insights to some of the taken-for-granted assumptions concerning temporality and singlehood. Notes 1 2 3 For a rich analysis of the popularity of bachelor and bachelorette parties see Montemurro (2003, 2006); Tye and Powers (1998). I draw on

in A table for one
Open Access (free)
Film festivals and the revival of Classic Hollywood

self-consciousness concerning the potentially problematic relationship between the popularity, or lowbrow nature, of classic Hollywood, and the highbrow or rarefied nature of the festival’s own museum aesthetic. The sense that here is a festival which reproduces the official line on film history while not really wanting to can be seen most bizarrely in a catalogue description for the 1989 screening of

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory

-runs’, Screen 36: 1 (1995), 16–33. Discussing the popularity of television reruns in the 1990s, Spigel suggests that interest in programmes such as Nick at Nite (part of Nickelodeon’s evening schedule and a forerunner of rerun programming) has less to do with the endurance of television art than with strategies of recontextualisation. These include programme marathons, theme nights

in Memory and popular film

Welsh art. It is interesting to note that it was the television sector rather than the film industry which was called upon to produce films to reflect the cultural life of Britain for the millennium celebrations. Film, as a whole, played a successful part in the Festival of Britain. The box office receipts of the Telekinema testify to the popularity of the stereoscopic films and also to the attraction

in British cinema of the 1950s
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Woman in a Dressing Gown

about a woman who doesn’t get out of the house very often. 19 Woman in a Dressing Gown ’s popularity is the strongest argument that it struck a chord in the public psyche. One could argue, as Geraghty does of other popular fifties British films, that its success comes from ‘giving audiences a rest from the stress of being citizens in the grip of modernisation’, but this does not really

in British cinema of the 1950s

French public and, by the same token, to enhance his waning popularity at home, especially with the clerical party and Catholic public opinion, which was incensed by his recent stance in support of Italian unification (one of the outcomes being the dissolution of the Papal States). 71 More generally, Syria and Lebanon were at the centre of an arc between the British route to India and the Straits route to the Black Sea, a region of French–British rivalry for

in Humanitarian intervention in the long nineteenth century

popularity and public notoriety. As Fairfax-Blakeborough remarked ruefully, it was ‘an age of grovelling, almost toadying, and sycophantic jockey admiration’, and the ‘tendency to place successful jockeys on 156 Horseracing and the British, 1919–39 pedestals and fall down and worship them is just a little nauseating to some of us’.3 The press and public, by contrast, gave them status and adulation. Most did not see the effort, the wasting and the work, or the conflicts and tensions. They saw heroic and glamorous figures who did little menial work and simply arrived in

in Horseracing and the British 1919–39

attraction for French churchmen.47 The Franco-Tridentine bishops followed in the footsteps of conciliarism’s greatest exponent, Jean Gerson, but also in those of later theologians, including Jacques Almain, John Major and Josse Clichtove, who had maintained the doctrine’s currency.48 Perhaps partly, however, because Gerson was a highly respected writer on pastoral as well as purely theological topics, his treatments of conciliarism proved the most widely disseminated in France during the fifteenth and sixteenth centuries. The enduring popularity of his works ensured that

in Fathers, pastors and kings

done much to highlight the profusion and diversity of magical practitioners and practices in that period. Eloïse Mozzani’s examination of the popularity of fortune-tellers, prophets, occultists and pseudo-scientists during the Revolutionary and Napoleonic years has provided further confirmation of the ubiquity of magical beliefs across French society at the time. Bernard Traimond’s study of magic and

in Witchcraft Continued

degenerated into tediously reworked taxonomies of criminal plurality encompassed within fictional narratives of the travelogue. The Country Gentleman’s Vade-Mecum; or, His Companion for the Town effectively set the agenda. Published in 1699 to draw on the popularity of Ward’s London Spy , it comprised a series of letters written by a gentleman now wise in the ways of city life to a friend in the

in The other empire