Search results

You are looking at 21 - 30 of 85 items for :

  • political life x
  • Film, Media and Music x
Clear All
Open Access (free)
Pleasantville and the textuality of media memory

’, editorials in New York , The New Republic , The Chicago Tribune , Time and Newsweek spoke throughout 1991 of a new intolerance within universities and in cultural life more generally. The bogey of ‘political correctness’ became the touch-point for news stories about the tyrannies of the ‘loony’ left. 20

in Memory and popular film
Open Access (free)

mechanisms for rights claims is more than a jurisprudential and political conundrum but rather a challenging everyday reality. Hannah Arendt, who, in a celebrated and often-​quoted paragraph, wrote about the right to rights, sheds light upon this paradox. Her reading of rights focused on the stateless, for whom local mechanisms of claiming human rights did not exist. The calamity of the rightless is not that they are deprived of life, liberty and the pursuit of happiness, or of equality before the law and freedom of opinion –​ formulas that were designed to solve problems

in Dance and politics
Isadora Duncan’s danced revolution

clash between the weak and strong readings of political dance. Ann Daly, who has written extensively on Duncan, divides her choreographic life into several periods. The first period (1908–​11) centred around the image of Duncan as the young nymph, an image that endured 29 Isadora Duncan’s danced revolution 29 in her historiography. In this period she explored the fluidity of movement and based her dancing on physical release. The second period (1914–​18) is characterised by her exploration of heroic and at times nationalistic themes, from Greek myth (Iphigenia

in Dance and politics
Open Access (free)
The cinematic afterlife of an early modern political diva

In the American TV mini-series Political Animals (2012), Sigourney Weaver plays Elaine Barrish Hammond, a divorced former First Lady who serves as Secretary of State. In a trailer for the series, Hammond explains her own will to power by invoking a comparison to historical female politicians: ‘I took this job as Secretary of State because I feel I can make a difference. Eleanor

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

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)

it access to a far greater audience.39 CARA set a marker with Pakula’s Watergate story that stretched the cultural and political significance of films about American public and institutional life. Common factors such as loyalty, betrayal, conspiracy and malfeasance, allied to a strong star presence and fashioned by real events, ensured that All the President’s Men would remain iconic and vital as a political film long after its time, and others of the time clung to its coat-​tails. Three Days of the Condor, The Parallax View and especially Francis Ford Coppola

in The cinema of Oliver Stone

There was probably never a book by a great humorist, and an artist so prolific in the conception of character, with so little humour and so few rememberable figures. Its merits lie elsewhere. (John Forster, The Life of Charles Dickens (1872)) R ALPH

in British cinema of the 1950s
Open Access (free)

capital. This concept Introduction 19 can, in simple terms, be interpreted as a kind of lubrication for society, a lubrication composed of qualities and resources that facilitate collective actions and cooperation with ultimately beneficial effects on democracy and on civil morality, for instance trust between people, social networks of different kinds, and an experience of reciprocity (Putnam 1995:65–78, 2000). Swedish political scientist Bo Rothstein has devoted a significant part of his professional life to studying social capital, in particular social trust

in Exposed
One Billion Rising, dance and gendered violence

and through which political interventions are brought into being. This chapter focuses on the connection between utilising the body as a mechanism of political intervention in the public space and interventions into the body itself. One Billion Rising is a protest movement that explicitly utilises dance to convey a political message. I move from examining the movement’s own interpretation of dance as it is communicated in words, the weak reading of political dance, to exploring the grassroots response to the movement’s verbal message, and finally I  discuss the

in Dance and politics
Open Access (free)
Authorship, praxis, observation, ethnography

-verbal and the performative aspects of social life. It also involves close attention to the way in which material objects are used to sustain that social life, be it simply through exchange or as a means to achieve such things as political prestige or privileged access to the world of the sacred. Increasingly, it is also necessary to pay close attention to the role played by the use of audiovisual and social media in sustaining that life too. In its simplest form, the output from the application of the ethnographic method during fieldwork consists

in Beyond observation