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Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
Victoria Duckett

’s final descent onto a pile of cushions is excessive, and can even seem comical. The fact that she immediately returns to this set (now cleared and cleaned) in order to acknowledge applause from her unseen spectators reinforces the potential humour of the film’s conclusion. At the same time, however, questions remain. How did a Tudor Queen renew Bernhardt’s hold not just on Empire (now newly conceived in

in The British monarchy on screen
Ian Mackillop and Neil Sinyard

era’. British cinema at this time consists of parochial comedy – what one might compositely call the ‘Carry On Doctor at St Trinian’s’ school of mirth – weary transpositions of West End successes, and bland World War II heroics designed to steel us against the loss of the Empire. But is this really true? For example, Anthony Asquith’s stage adaptations have often been dismissed as unimaginative filmed theatre, but to see his

in British cinema of the 1950s
Open Access (free)
Ian Scott and Henry Thompson

of director is not just a job. Paul Graff and Christina Graff, Stone’s special effects team for Wall Street: Money Never Sleeps and Savages, and award-​winners themselves for their work on TV series such as Boardwalk Empire (HBO, 2010–​14), see Stone’s modus operandi while on set as keeping people slightly on edge, as Paul Graff observes: Nevertheless, there have been some adjustments personally and professionally. Borman notes that Stone appears calmer and more reflective than in earlier years. Tod Maitland, who worked as Stone’s sound mixer on Talk Radio, Born

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

to these stories and putting the record straight.48 Amid a polarised media discourse, the parable of military overreach and the limits of empire offered by Alexander gave the film a measure of contemporary perspective, ensuring that it remained aloof from the ‘patriotic war experience’ category of movies described by Carl Boggs and Tom Pollard, which might have produced a different commercial result for the picture.49 By July 2005, during preparations for the recut DVD release of Alexander, Stone acknowledged publically some of the difficulties in the New

in The cinema of Oliver Stone
Mandy Merck

Elizabeth I. Moreover, Mirren is an aristocrat among film stars, who has played classical queens like Cleopatra and Phèdre on the stage, whose supposed descent from the actual Russian aristocracy was remarked on the film’s debut and who was dubbed a Dame of the British Empire soon afterwards. In 1994 she portrayed Queen Charlotte in The Madness of King George and in the 2005 HBO series, Elizabeth I , she

in The British monarchy on screen
Open Access (free)
Yale’s Chronicles of America
Roberta E. Pearson

behind foliage and watch a row boat approach the shore, and, then, rather sensibly, run away when the white men disembark. No natives watch as Columbus proclaims, ‘In the name of Holy Church and in the name of their joint Majesties, Isabella, Queen of Castile, and Ferdinand, King of Aragon, I claim dominion over this new empire!’ The film ends here, before Columbus and his successors enslave and murder

in Memory and popular film
Open Access (free)
History, legend and memory in John Sayles’ Lone Star
Neil Campbell

audience into a wider reconsideration of borders and of the nature of history itself. De Certeau claims ‘the historian is no longer a person who shapes an empire . . . [but] comes to circulate around acquired rationalizations . . . works in the margins . . . becomes a prowler. In a society gifted at generalization, endowed with powerful centralizing strategies, the historian moves in the direction of

in Memory and popular film
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

intertexts within the film, particularly An Affair to Remember (1957) and Casablanca (1943), have the effect of emphasising a nostalgic yearning for a past innocence, particularly in the re-visiting of the former film’s key symbolic site (the observation deck of the Empire State Building) and the inclusion of the song ‘As Time Goes By’, made famous in the latter. This inter-textual referencing plays on

in Memory and popular film
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
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

’s remark on the scale of the international audience. He declares: ‘All London, in fact, all the world, rejoices in the happiness of our royal family. … This crowd is only a minute part of the great public all over the Empire who will today be wishing joy to the bride and bridegroom.’ 35 Significantly cashing in on this export opportunity is a Pathé fashion film made to supplement the coverage of the day. 36 It

in The British monarchy on screen