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History, legend and memory in John Sayles’ Lone Star
Neil Campbell

through the community’s ‘stratigraphic landscape’, that ‘conceives historical understanding as an after-life of that which is understood, whose pulse can still be felt in the present’. 4 Through these acts of retrieval, Sayles’ film can be seen as in dialogue with the ‘culture wars’ debates of the 1980s–90s in which issues of identity politics, multiculturalism and the

in Memory and popular film
Open Access (free)
Yale’s Chronicles of America
Roberta E. Pearson

collective memory and national identity has perhaps been most intensely debated in the historian’s own country, the US. In the last two decades of the twentieth century, as identity politics gained increasing validity, ‘minorities’ such as African-Americans and Asian-Americans pressed claims to an ‘authentic’ self-representation in the country’s influential signifying systems (the media, the schools

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

/right positions and standards of moral value. On issues ranging from the emergence of academic theory and the strategic import of identity politics, to campus speech codes and anti-pornographic censorship, discursive territories of left and right were subject to frequent clouding and conflation. In media terms, however, that axis of left and right was fairly well maintained. If, as Jim Nielson suggests, the ‘most

in Memory and popular film
Open Access (free)
Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

she wrote: Call it ‘Homo Pomo’: there are traces in all of them of appropriation and pastiche, irony, as well as a reworking of history with social constructionism very much in mind. Definitively breaking with older humanist approaches and the films and tapes that accompanied identity politics, these

in The British monarchy on screen