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The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

foregrounds the notion of a reversal ‘which puts what comes chronologically first (“pre”) as an after-effect behind (“post”) its later recycling’. Looking preposterously at the visual culture of the past through later refigurations that have coloured our conception of this past means drawing attention to what remains hidden when one limits oneself to more conventional inter-textual influences. In the case of Elizabeth

in The British monarchy on screen
Robert Murphy

-Heckroth have as inspirational trampoline the visual culture of Ye Olde Junke Shoppe. (p. 211) Though he went on to write books on Jean Renoir, Alfred Hitchcock, Georges Franju, Luis Buñuel and King Vidor, who would now be acknowledged as film artists, Durgnat shared the same enthusiasm for popular culture and scepticism about the relevance of high

in British cinema of the 1950s
Open Access (free)
Film festivals and the revival of Classic Hollywood
Julian Stringer

distribution network for contemporary world cinema. In this sense, festivals have an important forward-looking sensibility, providing a vital arena for the emergence of the culturally ‘new’. 3 At the same time, however, it has been less widely acknowledged that many festivals also embody a backward-looking sensibility. Over recent years some festivals have come to function as veritable museums of audio-visual

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

University Law Review 64: 3 (1989), 628–725. For a discussion of the ‘discourse of black and whiteness’ in American visual culture during the 1990s, see Paul Grainge, Monochrome Memories . 25 Collins, Architectures of Excess ,p.3. 26

in Memory and popular film
Robert Burgoyne

such history on the screen is the history of the future. Perhaps in a visual culture, the truth of the individual fact is less important than the overall truth of the metaphors we create to help us understand the past. . . The visual media may represent a major shift in consciousness about how we think about our past’. 31 I would like now, in closing, to return to a point made by Elsaesser which I quoted

in Memory and popular film
The Pony Express at the Diamond Jubilee
Heidi Kenaga

West. The story of the pony express ‘with its fearless riders [provided] a most fascinating possibility for the motion picture’, and moreover cinema could restore this forgotten story to the public. 13 The documents of visual culture, especially motion pictures, challenged the hegemony of the written word as the authoritative repository of historical memory. In fact, in the case of The Pony Express

in Memory and popular film
Open Access (free)
The principles of Observational Cinema
Paul Henley

(Banks and Zeitlyn 2015 ), and Felicia Hughes-Freeland, who set up a practice-based visual anthropology programme at the University of Wales at Swansea and now continues to be actively involved in the field as a research associate of the School of Oriental and African Studies. As a sort of further extension to the RAI scheme, Anna Grimshaw, later Professor of Visual Culture at Emory University, Atlanta and co-author of a major study of Observational Cinema (Grimshaw and Ravetz 2009 ), but then a newly appointed lecturer at the Granada Centre for Visual Anthropology

in Beyond observation