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style by telling Bogarde and his companions, ‘I could be a very useful comrade.’ The tragic love entanglements of the plot are played out against a very cursorily sketched French Revolution which in this film appears to have been ignited by little more than a couple of broken barrels of wine and some careless driving on the part of a single aristocrat. Just as Dickens’s readers
between academia and the archives which I think will be relevant to readers of this book. Films physically survive for a variety of reasons, mainly economic, but sometimes technical. Film is, as Penelope Houston put it in her examination of British film archives, ‘fragile, expensive and dangerous’. (See her excellent guide Keepers of the Frame published by the British Film Institute in 1997.) Film
-born, prevailed.’ 8 The producers’ rhetoric was quite explicit about the series’ ideological agenda. Nathaniel Stephenson, one of the three editors-in-chief of the Chronicles, reported that Yale University engaged in ‘long deliberation’ before granting the go-ahead for the project, persuaded by three arguments the series’ proponents advanced: ‘the fact that the general reader was
Repeating the strategies of their promotional campaign for The Covered Wagon , Paramount’s publicity narratives about the preparation of The Pony Express focused on the accuracy of the story. One such narrative, published in Sunset , a magazine about California history, offered readers a detailed account of the production circumstances. This piece is an artefact of studio-generated public relations
consumption. This will take us beyond a focus on the meaning of a text, to a focus on the meanings that can be made in the encounter between the discourses of the text and the discourses of the ‘reader’. That is, it is not a question of verifying (with an ‘audience’) the real meaning of, say, Platoon . The focus on consumption (understood as ‘production in use’) is to explore the political effectivity
tragedy written around the life of Elizabeth, Queen of England, by Paolo Giacometti’, to audiences in America, Australia and New Zealand in 1901 (she also took it to London in 1902). 15 She returned with the play to Australia and New Zealand in 1905 and to America in 1906. When O’Neil first played Queen Elizabeth in Australia, note was taken of the fact that it was new to audiences. Still, readers
’, trans. Michael Holquist and Caryl Emerson, in Pam Morris (ed.), The Bakhtin Reader (London: Edward Arnold, 1994 ), p. 184. 67 SHC, box 51, ‘Progress report’, April 20 1954. 68 Deborah Rose Bird, Reports from a Wild Country: Ethics for Decolonization
recovering something of the quality of the whole cinema-going experience in the 1950s, which, memory tells us, is so different from our present multiplex days. (As Terence Davies’s films lovingly show, there was still a magic and an innocence attached to the cinema in those days, which one can rediscover in reading through fan magazines and old film annuals: a reader wins 10 s 6 d from Picturegoer for observing that ‘no screen
. The opprobrium that followed was nearly unprecedented, and might have broken other directors of less physical and mental resolve than Stone. Writing in the Washington Post –a paper that had carried a critique of the film while it was still in production – Rita Kempley asserted that Stone’s talent was to bend the truth with mirrors3 –and that was one of the more generous reviews. Jonathan Rosenbaum, in the Chicago Reader, called it ‘three hours of bombast’.4 Vincent Canby, in the New York Times, stated that ‘the film’s insurmountable problem is the vast amount of
Mystique , first published in 1963. Although other feminist writers had mapped out the problems of women’s confinement in the domestic realm before, Friedan’s book reminded its readers that the ‘woman question’ had not gone away, merely mutated into a different form. Her work was instrumental in the international rebirth of feminism in the 1960s, especially her concept of ‘the problem that has no name