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Black Women as Surrogates of Liberation in James Baldwin’s If Beale Street Could Talk
Marquita R. Smith

This essay analyzes how James Baldwin’s late novel If Beale Street Could Talk represents Black women’s care work in the face of social death as an example of how Black women act as surrogates for Black liberation giving birth to a new world and possibilities of freedom for Black (male) people. Within the politics of Black nationalism, Black women were affective workers playing a vital role in the (re)creation of heteronormative family structures that formed the basis of Black liberation cohered by a belief in the power of patriarchy to make way for communal freedom. This essay demonstrates how Beale Street’s imagining of freedom centers not on what Black women do to support themselves or each other, but on the needs of the community at large, with embodied sacrifice as a presumed condition of such liberation.

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

against the politician, the mediality of her material embodiment also comes to be foregrounded. Moreover, these screen re-enactments thematically address the conflict between private person and public persona particular to female sovereignty because the Queen is both stateswoman and potential wife and mother (or virgin in the case of Elizabeth I). This raises the question of how each of the four film

in The British monarchy on screen
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

this kind of cinematic realism that is important to this argument. Opening out the narrative has the effect of diffusing the claustrophobia of the play. Look Back in Anger sits easily within the dominant conventions of the European naturalist tradition, its single playing space (albeit a lower-class bed-sit rather than a bourgeois drawing-room) functioning as an embodiment of the forces of

in British cinema of the 1950s
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Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

In 1992, Quentin Crisp appeared on cinema screens as Elizabeth I in Sally Potter's Orlando; the following year, he provided the 'Alternative Queen's Message' on Channel 4 television on Christmas Day, going head-to-head with Elizabeth II. This chapter will revisit this cultural moment, examining the significance of Crisp's perfonnances of 'queenliness'. The late 1980s/early 1990s heralded a shift away from the lesbian and gay politics of the 1970s and '80s towards a more confrontational queer activism. Orlando can be seen as an example of early queer cinema, given its play with gender and sexuality, and Potter's casting of Tilda Swinton (a regular collaborator of Derek Jannan). Other queer films of the time also unsettle and complicate particular moments in history, and equally employ a pointedly artificial mise-en-scene (Jannan's Edward II, Julien's Looking for Langston, Kalin's Swoon). How does Crisp's appearance - as an embodiment of the flaming, camp homosexual - complicate the film's politics of sexuality? Does it articulate a political ' clearing of the ground', with an older gay culture (Elizabeth) giving way to a fresh queer one (Orlando)? This chapter will consider the film as a provocative transition between particular forms of cultural production - bound up with changing attitudes towards the monarchy itself.

in The British monarchy on screen
Open Access (free)
Amateur film, civic culture and the rehearsal of monarchy
Karen Lury

Dating from as early as 1906, a large number of amateur films commemorate royal visits to Scotland's town halls and schools. They capture- in lise Hayden's terms - the 'minor events' of British royalty where the monarchs' physical presence and symbolic embodiment are balanced on a 'knife's edge' as both their 'ordinariness' and uniqueness must be maintained simultaneously. This tension explains why the choreographing of these events is often (wearily) similar and the films boring. Nonetheless, these amateur films sometimes capture moments of contingency (the look at the camera, the unseemly exuberance of children) that expose the limits of this balancing act and the 'work' that underpins the perfonnance of monarchy. Conversely, in many cities across Scotland these royal encounters have been re-imagined in pageants and gala days also commemorated in amateur films. In these films, children take on royal functions, becoming fleshy 'effigies' of the monarch in ritualistic performances that dramatize the ambiguous origins of royal pageantry, whether the monarchs involved are 'real' or 'fake'.

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

registers of the term sic and its use throughout the book, while releasing/​turning towards other dance and political theorists who have considered the relationship between dance and writing. Two books in particular have discussed inscription within the discipline of political theory and embodiment theory. Carrie Noland’s Agency and Embodiment:  Performing Gestures/​Producing Culture discusses the communicative power of gesture and reinstates embodied discourses in a performative setting. She argues that gesture is a phenomenologically independent world constructed

in Dance and politics
One Billion Rising, dance and gendered violence
Dana Mills

reception of the movement’s message, a moment of sic-​ sensuous. The chapter starts from a movement that tries to explicitly intervene in public spaces and positions women’s bodies in protest against the degradation of women and girls around the world. The chapter ends in the individual resisting body that may not take on board One Billion Rising’s message tout court. Nevertheless, the fractured body will respond to the call to oppose the marginalisation of female embodiment in its own way. Thus the chapter examines the reoccupation of space through dance on a dual level

in Dance and politics
Isadora Duncan’s danced revolution
Dana Mills

as legitimate and she is interpreted as a legible subject. Consequently she unravelled numerous spheres of resistance to those who followed her. Duncan’s interpretation of her own embodiment in bringing her body to performance anticipates what will later be interpreted as radical feminism, understanding women’s oppression and marginalisation as occurring in further and more clandestine ways than mere legal structures.2 Let Isadora Duncan enter centre stage of the argument; I invite the reader–​spectator to take their seat in a performance taking place on 7 October

in Dance and politics
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Memory and popular film
Paul Grainge

. From its first beginnings, the temporal realities of early cinema – what Leo Charney equates with the shock and embodiment of modern space and time – has posed significant questions for the formation of modern memory. 19 In discursive terms, however, the contemporary period remains the key focus of concern. If a particular moment can be identified where the connections between memory and film become more tangible and self

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

II’s equally assured embodiment of the powerful monarch in Restoration . In other films, that status of national figurehead may still be in the process of being established, as in Elizabeth , where the ascent to absolute power of the eponymous queen is imaginatively reconstructed; or in The King’s Speech , where George VI must overcome his stammer to win the affection of his people. Or the status

in The British monarchy on screen