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Open Access (free)
Ian Scott and Henry Thompson

territory, and US dalliances with a military return to lands in which they had spent ten years trying to assert their influence, all reinforced Stone’s master narrative of ignorance and complicity in the rise of local, ethnic and ideological insurgency. The Moyers interview provided an important insight into Stone’s thinking around where broader, post-​war American history was now heading. The Untold History series already was starting to take some shape on paper. This interview and other media appearances not only showcased the emerging argument, but acted as a spur to

in The cinema of Oliver Stone
Open Access (free)
Jeffrey Pence

transform themselves. Compared to the pale and washed out images of Anglo-Canadian spaces and faces, other ethnic locales and bodies are presented as warm and vibrant (the Armenian family in Next of Kin ), rooted in unattainable tradition (the silent grandmother in Family Viewing ), or sexually irresistible (the ‘other’ men with whom Thomas trades opera tickets for sex in Exotica ). By Felicia’s Journey

in Memory and popular film
Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

. The US experienced its largest waves of immigration from Europe in the first decades of this century, even as it witnessed the mass migrations of African Americans to the industrial centres of the North. With these movements of peoples came the rupture of generational ties, rendering the traditional modes for the transmission of cultural, ethnic, and racial memory – both memories passed from parent to child and

in Memory and popular film
Open Access (free)
Memory and popular film
Paul Grainge

of the conceptual difficulties of this position, Landsberg provides an important strategic position in thinking through the ethical and political dimension of cultural memory and collective identification. In the next chapter, ‘“Forget the Alamo”: history, legend and memory in John Sayles’ Lone Star ’, Neil Campbell provides a detailed examination of a film deliberately concerned with various ethnic

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

, floats depicting these hardships of the American period constituted about one-half of the entire parade. 26 According to historian John Bodnar, such a design was common in historical commemorations during the 1920s. The patriotic campaigns of World War One and ‘Americanisation’ drives greatly influenced the expression of ethnic ancestry during the 1920s, resulting in ‘colourful’ but depoliticised

in Memory and popular film
From Vietnam to the war in the Persian Gulf
John Storey

the optimism and propaganda of the very official newspaper Stars and Stripes , it has been estimated that something like 144 alternative newspapers were in circulation on American bases in Vietnam. 38 Hollywood also ‘forgets’ the details of the gender and ethnicity of those Americans who fought in Vietnam. Between 1965 and 1972, the US sent between ten and fifteen thousand 39 women to the war in

in Memory and popular film
Mandy Merck

Deardon, 1959) or exploitation ( Flame in the Streets , Roy Ward Baker, 1961). The name Crawford is itself an allusion to 1950, the year when the former nanny of Elizabeth and Margaret, Marion Crawford or ‘Crawfie’, outraged the royal family by publishing her memoir The Little Princesses . But the ease with which Mr Crawford converses with his sovereign also suggests the ethnic ‘diversity’ championed in

in The British monarchy on screen
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

. 16 Jude Davies and Carol Smith, Gender, Ethnicity and Sexuality in Contemporary American Film (Keele: Keele University Press, 1997), p. 9. 17 See, in particular, Robert Burgoyne, Film Nation: Hollywood Looks at U.S. History (Mineapolis: University of Minnesota Press, 1997), pp. 104–19; Thomas

in Memory and popular film
Queen Victoria, photography and film at the fin de siècle
Ian Christie

structured around military formations passing the camera, the Diamond Jubilee procession also brought together a number of significant narratives, which help explain its wide popularity. 70 One was the intended ‘gazetteer’ of the British Empire, with its exotic diversity made visible in the ethnic variety of those processing, condensing into a dynamic yet disciplined image of the very concept of the Empire. 71 A

in The British monarchy on screen
An allegory of imperial rapport
Deirdre Gilfedder

The hegemonic ideology of the early decades of the twentieth century, however, remained loyalism. Defined as personal allegiance to the sovereign, it was conceived as the uniting thread of the British Empire, as it was supposed to override religious or ethnic affiliation. 17 A British subject in the 1930s was still defined as one who ‘recognized the King as his Lord’, and owed allegiance to the King

in The British monarchy on screen