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New retro movies in 1990s Hollywood cinema
Philip Drake

Landsberg’s chapter in this volume. See also, Landsberg, ‘Prosthetic Memory: Total Recall and Bladerunner ’, in Mike Featherstone and Roger Burrows (eds), Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment (London: Sage, 1995), pp. 175–89.

in Memory and popular film
Open Access (free)
The King’s Speech as melodrama
Nicola Rehling

tensions of the monarchical system configure a means by which the monarchy sustains itself – similar to the ways Laura Mulvey reads 1950s melodrama’s representation of patriarchy. The stark opposition the film constructs between Bertie, the good King, and David, the bad King – blatant embodiments of the moral polarisation in which melodrama trades – also allows the film to suggest the problem is not the

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

Bronfen and Barbara Straumann explore the diverse enactments of the Queen by four film stars (Flora Robson, Bette Davis, Jean Simmons and Cate Blanchett) in eras of impending war, ambivalent domesticity and political spin-doctoring. As the Queen’s two bodies bring together her physical being and her symbolic mandate, the mediality of this screened embodiment becomes conspicuously foregrounded. In 1992

in The British monarchy on screen
Open Access (free)
Ian Scott and Henry Thompson

, Lo v e The [original] script actually resembled the third version [Alexander Revisited, 2007] more than the first two. Warners were upset with me. I promised them a sanitised film. I saw a list of their cuts and we went back and forth. There was no way I was going to make all of those cuts. They wanted all the homosexuality out. They hated Bagoas. There was also huge problems with blood.40 181 melodrama relies on the moral embodiment of a situation.43 Stone responded that: Th e ci nem a of Ol iver   S to ne Dr Paul, in pointing to Aristotle’s ‘single action

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

about it, and yet in the denouement Stone appears to celebrate that same response. Pagniacci the woman is the embodiment of the wayward corporation. This complexity aside, the film’s wistful veneration of a smaller, more personal world of local football leagues spoke of a paradox felt by many sports fans, who celebrated tradition while embracing the world of corporate franchise football entertainment. It was a cultural yearning that gave vent to the belated success of NBC’s Friday Night Lights from the mid-​2000s, about a college football team in Texas. Meanwhile, the

in The cinema of Oliver Stone
Open Access (free)
Beyond the burden of the real
Paul Henley

unpopulated eastern bank. Even before he began filming, Gardner formed an analogy in his mind between the Ganges and the Styx, with the eastern bank being that ‘far shore’ from which, proverbially, no traveller returns, while the feral dogs that ranged there were, for him, none other than real-world embodiments of Cerberus, the hellhound who guarded the entrance to the Underworld of Greek mythology ( figure 9.5 ). Although the people of Varanasi might consider the eastern bank no more than a place of recreation, and while Östör thought of it as a peaceful refuge from the

in Beyond observation
Films of the Sensory Ethnography Lab
Paul Henley

California (USC). Although a number of others have made major and very important contributions to the work of the SEL, Castaing-Taylor has played the predominant role in determining its overall orientation, both by personal example as a film-maker, and also as a teacher on the various postgraduate media training programmes offered at Harvard. In many ways, the SEL could be seen as the institutional embodiment of an intellectual and creative agenda that Castaing-Taylor first laid out in embryonic form as far back as a series of publications that appeared in the 1990s, some

in Beyond observation
Open Access (free)
Ian Scott and Henry Thompson

reflection. The actor’s career trajectory at that moment was as much of a downward spiral as Wall Street’s fortunes. Both embodiments of the American Dream, but both at this moment at least, seemingly headed for self-​destruction.29 Stone’s disagreement with Fox over Sheen’s fee formed only one part of a wider contest of wills between studio and director. Less than two weeks before the resolution of the Sheen crisis, on 9 September, Stone had written a long memo to Young essentially asking him to back off, stop questioning Stone’s every choice and allow him to work in the

in The cinema of Oliver Stone
Mia-Marie Hammarlin

reveal a more uncivilised aspect of people and of the communities they form. Carey then elegantly describes how the actual stage for this type of ritual has been moved and changed over time. In primitive societies, such rituals were enacted in the town-hall square, the marketplace, or on the church green, where people who had been found guilty of theft, prostitution, lying, or similar crimes could be publicly displayed; they formed unambiguous embodiments of social norms and agreements, the purpose of which was to create order in the impending chaos. Today, argues

in Exposed
Open Access (free)
Ian Scott and Henry Thompson

’s administration as being on an ideological crusade to rid the region of all of America’s perceived enemies. Stone’s personal reference point for these on-​screen political observations became the destruction of Camelot and the death of John F. Kennedy: the point at which, as he saw it, institutional power first eclipsed the presidential embodiment of the American spirit. While Stone drew directly on that transition as a source of 95 Th e ci nem a of Ol iver   S to ne 96 motivation in films such as Platoon and JFK, several of his other 1980s productions in the wake of

in The cinema of Oliver Stone