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Pleasantville and the textuality of media memory
Paul Grainge

way that media cultures articulate a competing array of social discourses within popular representation. In the case of Pleasantville , this transcoding centres upon a liberal discourse focused on the rejuvenation of the 1960s. Discursively, the film intervenes in political debates about the status of the 1960s, reclaiming the decade as a positive metaphor against the (supposedly) more reactionary

in Memory and popular film
Robert Burgoyne

a bodily, mimetic encounter with a collective past they never actually led’, experiences that foreground the multiple and complicated relations between individual and collective memory and history in the age of media culture. Memory, in the traditional sense, describes an individual relation to the past, a bodily, physical relation to an actual experience that is

in Memory and popular film
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

Andrzej Olechnowicz, ‘Historians and the modern British monarchy’, in Olechnowicz (ed.), The Monarchy and the British Nation , pp. 25–7; and David Chaney, ‘A symbolic mirror of ourselves: civic ritual in mass society’, Media, Culture and Society 5 ( 1983 ). 8 See Olechnowicz, ‘Historians and the modern

in The British monarchy on screen
An allegory of imperial rapport
Deirdre Gilfedder

allegiance of Australian Freemasonry to the sovereign. With its rewriting of its vassal as a radical egalitarian, The King’s Speech demonstrates how media culture participates in a society’s shifting self-image. For contemporary Australian spectators, Rush’s Logue personifies the indecisiveness of their republican dream. NOTES 1

in The British monarchy on screen
From Vietnam to the war in the Persian Gulf
John Storey

operates in much the same way. As Kellner points out, ‘Rambo has long hair, a headband, eats only natural foods (whereas the bureaucrat Murdock swills Coke), is close to nature, and is hostile toward bureaucracy, the state, and technology – precisely the position of many 1960s counterculturalists’. See Douglas Kellner, Media Culture (New York: Routledge, 1995), p. 65

in Memory and popular film