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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)
Editor:

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 ),.www.theaustralian.com.au/media/opinion/cheer-kate-but-dont-confuse-celebrity-with-constitution/story-e6frg9tf-1226897652898#. 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
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
Open Access (free)
Thomas Dumm

collective writing of the American Constitution, or the strange call for a civil religion of Constitution-worship advanced by Abraham Lincoln in his speech to the Young Men’s Lyceum in Springfield in 1838. (By the way, I do not think the secrecy of the proceedings of the Constitutional Convention in Philadelphia were much more than a consequence of the Thermidor-like quality, the self

in Cinema, democracy and perfectionism
Clare Woodford

gossiping about others. This involves a much deeper interpretation of democratic relations than that found in much political thought today. With relation to the political analogy discussed by Dienstag, the moral would be to stop watching others making a constitution and then limit our involvement to merely moaning about it, but to get involved in making our own constitution, to push

in Cinema, democracy and perfectionism
Open Access (free)
Joshua Foa Dienstag

films to violate it either. The play theory of language, it seems to me, gives expression to a crucial element of Rousseau’s theory of human equality. We are not equal by virtue of God’s fiat, nor by some biological fact about our physical constitution. Neither are we unequal by such measures. Rather, we are equal politically by virtue of our mutual constitution of one another as

in Cinema, democracy and perfectionism
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

signifies anything at all? Not to be of your opinion on some of these points is to make myself clear enough about the others. Of no less importance: what are the ties – economic, moral, erotic – which make possible the constitution and continuous reconstitution of a people as such from an assortment or multitude of humans? And at what cost to their souls

in Cinema, democracy and perfectionism
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