Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

in this list, fared even worse. Several of the films about earlier monarchs, both medieval and early modern, are also pitched at the quality end of the market. Some of them were distinctly auteur-led, art-house films, like Derek Jarman’s Edward II and Sally Potter’s Orlando . Some were crossover films that hovered between the art-house and the mainstream, such as the two

in The British monarchy on screen
Open Access (free)
The King’s Speech as melodrama
Nicola Rehling

that traditional markers of national identity, as well as the notion of national cinema itself, are under erasure; as Belén Vidal puts it, the heritage film is gradually changing into a ‘“post-” phenomenon: post-nation, post-quality and post-modern’, whether that refers to multinational funding sources, globalised production processes or a stylistic diversity that eludes national or auteur

in The British monarchy on screen
Open Access (free)
New retro movies in 1990s Hollywood cinema
Philip Drake

Pulp Fiction before it, is that it feels like a 1970s film despite being set in 1995. Sharon Willis, writing on the relationship between Tarantino as an auteur and the cult status of his work, argues that his films ‘embody a nostalgia for 70s that is continually circulating in television, video, and radio’. 21 Highlighting the mediated recycling of retro culture, she suggests that ‘later

in Memory and popular film
Rousseau as a constitutionalist
Mads Qvortrup

liberty, for example Mill, have escaped this charge (Thompson 1976: 136). Rousseau’s Wirkungsgeschichte has been less fortunate (Cobban 1968 for an overview). Louis Sebastien Mercier singled him out as one of the ‘first authors of the revolution’ (‘l’un des premiers auteurs de la revolution’) (Mercier 1791; see also Swenson 1999), and he has often been quoted, for example by Burke (1791) and Constant (1818), as a ‘Jacobin’, and as someone who ‘furnished deadly pretexts for more than one tyranny’ (Constant 1988: 317). That Robbespierre himself singled him out as the

in The political philosophy of Jean-Jacques Rousseau
Open Access (free)
Ian Scott and Henry Thompson

, but proved a watershed for Stone’s own auteur brand. Following personal crisis and professional disappointment, the film was a return to a more complex and intensive production environment, as well as a reconfiguration of Stone’s social commentary. He had absorbed some of the hard lessons from the mid-​1990s, and had effected a significant reorientation in his personal approach to work and reception: waking up, he said, with the cup half-​full rather than half-​empty.10 Part of that reorientation was a much more intricate mix of issues, whereby Any Given Sunday

in The cinema of Oliver Stone
Thomas D’haeninck, Jan Vandersmissen, Gita Deneckere, and Christophe Verbruggen

Centrale: de 1885 à nos jours ( Brussels : Fondation Roi Baudouin , 1992 ), 1–61 . 67 Jérôme Becker , ‘ Gymnases d’exploration et de colonisation. Projet présenté par l’auteur au Congrès d’Hygiène et d

in Medical histories of Belgium
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

-revelation (or, alternatively, of revelation about the auteur ). But, if we relax the rigid bounds of Freudian egoism, we can learn to view the familiarity of film in a different way, one that does not pretend that viewers forget that films come to them from the outside. In the Nietzschean view of dreams, they were the creative act par excellence. But when Nietzsche referred to Homer as

in Cinema, democracy and perfectionism