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Memory and popular film
Paul Grainge

national purity and tradition by ‘alien’ elements and ideologies – was addressed in the public history films and commemoration pictures examined by Roberta E. Pearson and Heidi Kenaga in this book, Blade Runner (1982), Total Recall (1990) and Memento (2000) demonstrate a more contemporary concern with the unsettled boundaries between reality and simulation in the constitution of remembered identity and experience. If

in Memory and popular film
Open Access (free)

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Open Access (free)
An allegory of imperial rapport
Deirdre Gilfedder

Kate, but don’t confuse celebrity with constitution’, The Australian (28 April 2014 ), 5 The tradition of appointing the United Kingdom’s Prime Minister is explained on the website of the British monarchy, www

in The British monarchy on screen
Screening Victoria
Steven Fielding

the heroic promise of the United States constitution. 3 Despite the supposed ‘presidentialisation’ of the role of British prime minister, those residing at Number 10 are still merely heads of government, closely tied to a political party, which usually holds a majority of seats in the House of Commons. 4 Therefore, those who want British politicians depicted in the same noble manner as Bartlet are not

in The British monarchy on screen
Writing on the body
Dana Mills

new moment of release the dancer shifts the boundaries of their bodies in space. They can expand the space their body takes in the world or reduce it; in either case the constitution of the world is a process of renegotiating boundaries in every movement. Thus the first axis upon which the argument moves is the tension between contraction and release, an exploration of the politics of the moving body as an inscribed space and its relationality towards other bodies that it moves. The second axis, corresponding directly to the first axis and yet inhabiting a different

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

, within their own family or the royal household. Unable to secure their status as national figurehead by force, they must do so by other means. At one extreme, then, are those monarchs who rule, those who govern, those who have executive authority unbound by the laws of the land, by a constitution or by convention, those who have the ability to override politicians, officials and advisers and make their own

in The British monarchy on screen
Mandy Merck

between 1998 and 2000, with further special episodes in 2006, 2008, 2009 and 2010. The series reunited actors Ricky Tomlinson and Sue Johnston, the stars of the 1980s Channel 4 soap opera Brookside . 25 Walter Bagehot, The English Constitution [1867] (London: Fontana Library, 1963 ), p. 85

in The British monarchy on screen
Open Access (free)
Mandy Merck

. 8 Walter Bagehot, The English Constitution ( 1867 ) (London: Fontana Library, 1963), p. 85. 9 Ernst H. Kantorowicz, The King’s Two Bodies: A Study in Mediaeval Political Theology (Princeton, NJ: Princeton University Press, 1957 ). 10 Virginia Woolf, ‘Royalty

in The British monarchy on screen
Robert Murphy

alongside Lean, Cavalcanti and John Guillermin. For Durgnat’s views on World War II films one has to flit between ‘Tunes of Bogey’, ‘The Lukewarm Life’, ‘System as Stalemate’, ‘The Doctored Documentary’, ‘Stresses and Strains’, ‘The Glum and the Guilty’, ‘Gangrene – British Style’ and ‘The British Constitution’. What one finds is valuable and interesting and uncontaminated by the

in British cinema of the 1950s
Mia-Marie Hammarlin

disaster. He also said that while he was there, he had used the telephone and the Internet to inform himself about the situation in Thailand, where thousands of Swedes found themselves in something that resembled a war zone. Among other things, he claimed that he had spoken on the phone to UnderSecretary of State for Foreign Affairs Hans Dahlgren, something that Dahlgren denied. Dahlgren’s version was supported by telephone records, and during a hearing in the Standing Committee on the Constitution (KU) in 2006, two years after the tsunami disaster itself and in the

in Exposed