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Continuity and change
Erin Bell
Ann Gray

.’ The response, and the interview in general, seem to deal with the question of change to and within the monarchy, an issue of some interest at the time the interview was recorded (2008) because discussion of what was to become the 2013 Succession to the Crown Act was underway, encouraged by backbench MPs such as Evan Harris, whose Royal Marriages and Succession to the Crown (Prevention of Discrimination) Bill 2008

in The British monarchy on screen
Ann-Kristin Wallengren

. Even though the music mainly supported the flow of narrative action, it was seldom heard in combination with dialogue, nor was it audible for very long. This discrimination—this generally eclectic use of music in Bergman’s films—makes scenes with music stand out as something extraordinary in the narrative. 20 There are, of course, exceptions; but it seems reasonable to claim that for the essential scenes in his films—regardless of whether those films are regarded as being of major or minor importance—he chose

in Ingmar Bergman
Open Access (free)
Dana Mills

that all human beings are created equal. They are, however, never perceived as the same. Articulated in moments of shared sensation between bodies that are equal but that may be interpreted as unequal in politics articulated in words, moments of sic-​sensuous allow for the performance of differences between human bodies. Those differences, performed through dance, may illuminate the inequalities that may deem some bodies unequal. Thus this conceptual focus allows for the unravelling of instances of oppression and discrimination that stand in the way of full

in Dance and politics
Open Access (free)
Civil rites of passage
Sharon Monteith

Mississippi at the time and saw 60s elements in everything that was happening; which is to say that I saw discrimination, racism, deliberate intimidation of those who challenged the system, whether that was simply because they were black or because they were white and not staying in line. It was horrific to me at the time.’ 32 Herring’s experience reminds us that Annie Devine, the Canton

in Memory and popular film
Open Access (free)
Ian Scott
Henry Thompson

legality of homosexuality and discrimination more widely, one senses that the good will available to him is drying up. Despite these pointed remarks, the film was criticised by some for giving Castro an easy ride. In reviewing Comandante for the BBC, Jamie Russell suggested that Stone’s interviewing technique was insufficiently challenging and thought he was ‘painfully embarrassed by the necessity of asking tough questions.’50 Russell continued: Accepting some of the criticism, Stone acknowledged in the New York Times that perhaps the questioning in Comandante had not

in The cinema of Oliver Stone