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Open Access (free)
Ian Scott and Henry Thompson

narratives depict Bush’s progress. One is his struggle to establish himself and win approval from his father (James Cromwell), and the second is his romance and marriage to Laura Bush (Elizabeth Banks), depicted with almost no gratuitous sentiment. Once again parental love is problematised, as Stone explored the way in which a seemingly distant love expressed by the father for his son had a crucial effect on the psychology of the future president. Bush’s struggle in W. is about recognition as much as it is about achievement. Through the portrayals of wife Laura and George

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

’s Pearl Harbor (2001) was no less popular, and revisited cinemas to much fanfare in the aftermath of 9/​11.34 In the immediate 9/​11 moment, a number of other films also began to engage with complex narratives that promulgated the ‘good war’, dedicated to notions of liberation, freedom, nation-​building and moral superiority, and which inadvertently or otherwise became de rigueur as cultural bulwarks of the Bush administration’s agenda. Using classical moorings, the nobility and romance of conflict was reaffirmed in Troy (Wolfgang Petersen, 2004), Kingdom of Heaven

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

, the arguments with Richard Heffner at CARA about the rating for the film, and the discomfort that the subject matter personally caused to Warner Bros.’ chair Bob Daly, left their marks on Stone.30 It was a film that Hollywood found hard to accept, even with its commercial success.31 Meanwhile, Tarantino accepted full payment for an original screenplay that was typically uncompromising and resonant of his debut cult hit, Reservoir Dogs (1992) from two years before, as well as his much-​touted script for what became Tony Scott’s True Romance (1993). With the critical

in The cinema of Oliver Stone
Mandy Merck

In 1955 the New Statesman published an article by the pundit Malcolm Muggeridge with a headline that would become a cliché of British political commentary. Republished in May 2012 for the Queen’s Diamond Jubilee, ‘The Royal Soap Opera’ compared newspaper coverage of Princess Margaret’s romance with Royal Air Force Group Captain Peter Townsend to that bestowed on Rita

in The British monarchy on screen
Continuity and change
Erin Bell and Ann Gray

documentary Romance and the Royals . ‘The Windsors’, however, offered telling insights into the royal family, particularly the Queen, including her thorny relationship with her daughter-in-law Diana, Prince William’s mother, in whose memory a concert had been held earlier in the year to mark the tenth anniversary of her death, and thereby into the politics of succession, royal marriages and births

in The British monarchy on screen
Open Access (free)
Mandy Merck

is easy to perceive the appeal of royal movies – costumes, carriages and national celebration vie with martial display, violence and, as we shall see, romance. And, not incidentally, the prominence of Britain’s queens, from the Celtic Boudicaa (played by Alex Kingston in 2003) to Elizabeth II (played by Helen Mirren in 2006), offers plentiful leading roles to women as representatives of an institution deemed to have become

in The British monarchy on screen
Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

would build up her navy, he is drawn into her passion. Yet as he brings into play the issue of romance, assuring her that he envies the man who will be her admiral, the tone of the scene changes, and we realise that her political ambition is shown to be in conflict with her romantic desire. The passion she has for her (future) empire transforms into a jealousy that she must contain as Seymour leaves her side to embrace his

in The British monarchy on screen
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

the present Queen Elizabeth. These films are much more focused on the private sphere: romance, family and the life of the royal household. The public sphere of politics and events outside the royal household tends to function as a backdrop, only intruding on the drama in so far as it is the consequence of what happens in the private sphere. Films and monarchs that fall into this category, again ordered

in The British monarchy on screen
Open Access (free)
Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
Victoria Duckett

Bernhardt’s acting. (Jay Leyda and Andre Bazin are also critical of her theatricality.) My point is that ‘filmed theatre’ has long been used as a term of critique in film studies. 9 See, for example, Abel, The Ciné Goes to Town , p. 316. See also Barbara Hodgdon, ‘Romancing the Queen’, in The

in The British monarchy on screen
Screening Victoria
Steven Fielding

off-cut of his earlier film – which was again well liked, especially by working-class audiences. 33 Wilcox’s two films covered the monarch’s private and public life, but mostly focused on Victoria’s happy relationship with her beloved consort Albert: the Daily Mirror welcomed Victoria the Great as ‘a beautifully told royal romance’. 34 They did not, however, avoid politics, and associated

in The British monarchy on screen