Open Access (free)
Kinneret Lahad

-seven bridesmaid’s dresses in her closet already, hoping to exchange the bridesmaid dress for a bride’s. Another popular film underpinning this message is Paul Feig’s Bridesmaids (2011), which garnered much media coverage in Israel. The film featured, as in many romantic comedies of its kind, the unhappy life of the bride’s best friend, who is given the role of the chief bridesmaid. As in 27 Dresses, the film focuses on the miserable life of the bridesmaid while she tries to manage all the pre-wedding events and rituals. Both films end on an optimistic tone, the heroines

in A table for one
Basil Glynn

period or figure ‘that come to define our expectations in the cultural imaginary’. Christopher Lockett, ‘Accidental history: mass culture and HBO’s Rome ’, Journal of Popular Film and Television 38:3 ( 2010 ), p. 102. 2 Ramona Wray, ‘The network king: recreating Henry VIII for a global television audience’, in Mark

in The British monarchy on screen
Catherine Baker

meaningful in late-twentieth-century Yugoslavia, shows how everyday German-language racialised imaginaries in the region could remain. German fascination with Native Americans, ignited by Karl May's Winnetou novels (1875–1910), inspired hobbyist re-enactment groups and many popular films, and arguably represented a certain racial exceptionalism itself (May's white German protagonist, allied with Natives against villainous Americans, embodied a brotherhood with the Indian hero that distanced the nation from its own colonialism) (Sieg 2002 ). This fascination was directly

in Race and the Yugoslav region
Open Access (free)
Religious influences on the depictions of science in mainstream movies
David A. Kirby and Amy C. Chambers

’s birthday, only 4 in 10 believe in evolution. GALLUP, 11 February. Retrieved 17 March 2016 from: www.gallup.com/ poll/114544/Darwin-Birthday-Believe-Evolution.aspx. Nisbet, M., and Scheufele, D. A. (2009). What’s next for science communication? Promising directions and lingering distractions. American Journal of Botany, 96(10), 1767–1778. Olasky, M. N. (1985). The failure of movie industry public relations, 1921–1934. Journal of Popular Film and Television, 12(4), 163–170. Ostherr, K. (2013). Medical Visions: Producing the Patient Through Film, Television, and Imaging

in Science and the politics of openness
Open Access (free)
Beckett and nothing: trying to understand Beckett
Daniela Caselli

and popular film publication in order to use ‘nothing’ as a category to interrogate the fraught relation between cinema and literature in Film, thus providing a historical context for Bignell’s previous work on authority in Film. Introduction 11 Catherine Laws (Chapter 10) discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing from Dream of Fair to Middling Women to Ghost Trio and neither. Russell Smith (Chapter 11) goes back to biographical narratives (a former no-no of a certain critical

in Beckett and nothing
Andrew Monaghan

arts, film and music industries into the team. While scandals emerged about some of these personalities being pressured into joining the team, 42 many cultural figures are genuine subscribers to Putin’s campaign: an obvious example being Govorukhin, the prominent and popular film director. Similarly, the Putin team sought to echo the opposition protest demonstrations, mounting their own, which

in The new politics of Russia
Open Access (free)
Robert Mackay

, however, that of all British films released in that period chap4.p65 179 16/09/02, 09:25 180 EXPLANATIONS the most popular were those with MoI-approved propaganda content: Convoy, 49th Parallel, The First of the Few and In Which We Serve, and that the third most popular film of 1943 was the feature-length documentary Desert Victory. But box office success was no better guide to effects on civilian feelings and behaviour than the approval of Mass-Observation’s panel. For more meaningful evidence of this, we would have to turn to the more detailed reports that Mass

in Half the battle
The origins of the Algerian women’s movement, 1945–54
Neil Macmaster

women at a meeting in the Algiers’ Foyer Civique to mark Aïd-el-kébir, at which the general secretary Alice Sportisse attacked the failure to implement the vote for women, ‘who have to struggle in a situation close to poverty’.36 The UFA, probably through studying the methods of the PPA nationalists, also proved adept at using propaganda techniques and cultural forms that would appeal to illiterate Arab or Berber speaking women, particularly through popular films like the Egyptian Gawhara, theatrical sketches, and Arab female orchestras such as ‘Aissa’, and ‘El

in Burning the veil