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Ian Scott and Henry Thompson

advertising only took around $19 million box office. Nixon was a man of great talent, but his own worst enemy. Nixon did make some progress with the Soviet Union and China, and in that respect he may, like Kennedy, have crossed a line –​and it has even been suggested that Watergate might have been a response from the establishment to that development. Stone: U Turn was a story about incest and was released as an R; but by 1997 things had started to loosen up a little. However, by the time of Alexander I discovered that the gay relationship with Hephaestion was still a

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

of the players are African American, very few coaches and no owners are black. However, the thrust of his critique is lost as he segues into a personal assessment that mixes the subjects of race and his sporting ethos together: ‘It’s all about winning. I mean that’s what this country is about, being number one. This whole country was built on kicking immigrant ass –​African ass, Chinese ass, don’t-​matter-​who ass.’ Beamen is already finding his stride as celebrity pundit. His interview bravado finishes with a description of his special powers on the field. However

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

Chinese and Japanese, and emphasises to her that: ‘Freedom is never a gift … it must be won and won again.’ Le Ly endures torture by the South Vietnamese army, is suspected by the Viet Cong who 165 Th e ci nem a of Ol iver   S to ne 166 capture and rape her, and all the while the bond with her village is broken. This symbolic withdrawal of love precipitates an asymmetry where Le Ly struggles to find an enduring and shared love. Moving to Saigon, she becomes a source of sexual gratification for the businessman she works for, and later is induced into prostitution by

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

declining opportunities, as US corporations found even cheaper labour rates in China –​are part of the employment context for the country reflected in Savages. Lado’s day job as a gardener in Laguna provides easy cover for his criminal activities and dreams of a better life, and it is employment with which many immigrant communities in southern California are all too familiar. Mexicans coming north to seek work and a stable future is intrinsic to the film’s pursuit of the Dream. What Savages further signposts is the way in which the cartel –​an alien threat from beyond

in The cinema of Oliver Stone
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Ian Scott and Henry Thompson

American exceptionalism, Stone conceived of an extension to the Bush Doctrine of endless war, applying it to the containment of China as well as ongoing issues in the Middle East. Thus Stone’s view of himself as someone who should (and must) make a contribution to the information marketplace has been resilient and unwavering. He has highlighted alternative political and historical perspectives in a way that has helped call the establishment and mainstream media to account.79 In a Financial Times article in July 2013, Stone, writing again with Peter Kuznick, made

in The cinema of Oliver Stone
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Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

like If… and O Lucky Man. When Anderson’s late, elegiac film The Whales of August (1987) was released, Richard Combs claimed that Anderson in it for once fulfilled the promises of Sequence. 34 He did occasionally work in the Sequence mode – never more so than in a film that was never actually released, Wham in China (1986), originally a feature-length documentary

in British cinema of the 1950s
Robert Burgoyne

China, and expressing amazement about the atheism, collective ownership and antimaterialism that he found there. Lennon appears to respond to Gump’s descriptions of life in China with the word ‘Imagine!’, which he repeats after all of Gump’s incredulous descriptions. As with the George Wallace and John F. Kennedy sequences, Lennon’s recorded words are culled from the archive

in Memory and popular film
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The Queen in Australia
Jane Landman

peaceful Crown Colony not yet associated with any of the topical colonial demands for constitutional reform or national self-determination, and not producing alarming reports of racial strife, economic distress, communist infiltration, or threats against the established order of government. 21 However, Chinese and

in The British monarchy on screen
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Woman in a Dressing Gown
Melanie Williams

review for Tribune , suggests another possible interpretation: ‘Monstrous closeups of burnt toast and tea-cups fill the screen. Every speck of lather on Anthony Quayle’s face is blown up to twenty times its size. China bangs, a radio blares, and a plate smashes with a crash that nearly bursts the loud speaker.’ 9 Hill, like Godard, fails to grasp the possible justification for Thompson’s frequent focus on

in British cinema of the 1950s
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Robert Hamer after Ealing
Philip Kemp

for the most part. A decade before the trumpeted naturalism of the British New Wave, Hamer was exploring townscapes far from the official picture-postcard locations. This is a scruffy, back-alley Britain of cracked pavements and corrugated-iron lean-to sheds. A petty crook’s deserted wife sits in a parlour stuffed with sad, tawdry knick-knacks – china cats, samplers, cheap reproductions, a portrait of

in British cinema of the 1950s