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A cinematic response to pessimism
Davide Panagia

discovering that he (Cavell) cannot provide adequate epistemic evidence for the existence of a filmic work. There is, then, a curious instance of habeas corpus to his project: if Cavell cannot provide evidence for the existence of a work (what he refers to as “the question of film’s legitimacy”), 8 can there be any value attached to cinema and/or the philosophical study of cinema? The

in Cinema, democracy and perfectionism
Continuity and change
Erin Bell and Ann Gray

royal family seems much more comfortable with cameras that are kept at an appropriate distance as on formal occasions covered by broadcasters. As these brief examples suggest, such televised representations are potentially fraught with implicit questions about the legitimacy of monarchy in the twenty-first century, or on the other hand, the suitability of the younger royal generations to replace the

in The British monarchy on screen
Open Access (free)
Memory and popular film
Paul Grainge

metanarratives of American memory began to strain for legitimacy against the multiple pasts of the marginalised. This must be set within a broad climate where national identity itself was, and continues to be, called into question by transnational political and economic restructuring. If memory discourses have accelerated in response to crucial changes in the ideological structure of US society – symptomatic, according to Andreas

in Memory and popular film
Clare Woodford

exemplarity to remind us that, for moral perfectionism, the act of interpreting is prioritized over the interpretation. By, then, reading this claim alongside the work of Jacques Rancière, I will emphasize his claim that spectators are always already engaged in such interpretation, but too often do not trust the legitimacy or authority of their own interpretation over that of others

in Cinema, democracy and perfectionism
The Spanish Gardener and its analogues
Alison Platt

. This is how a father lets ‘right be done’, that phrase which has, to quote the Winslows’ debonair barrister, Sir Robert Morton (Robert Donat), ‘always stirred an Englishman’. 6 In spite of being set in pre-World War I England the film has a post-World War II concern with names, with legitimacy, with ownership. The opening scene refers to Arthur’s retirement and the film asks, ‘What legacy can be

in British cinema of the 1950s
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

period as Kenneth More and Dirk Bogarde began as stage actors. (More began in variety before moving into films via the legitimate theatre and Bogarde worked in both provincial repertory theatre as well as the West End before becoming a screen actor.) However, it was not a relationship between equals. Theatre occupied a higher cultural status than film, lending it a credibility and legitimacy that was

in British cinema of the 1950s
Outdoor screens and public congregations
Ruth Adams

events founded, however imperfectly, on the premise of recording history, can readily dispense with the audible and visible witness of a large attending crowd.’ 64 In the context of royalty, streets thronged with flag-waving subjects give the continued presence of the monarchy in public life a sense of legitimacy, and audiences attending live screenings of events may find themselves simultaneously

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

circulating icons clearly enhance the soft power of monarchy. Within this landscape, films about royals also have their role to play. Two major commercial releases of the years 2000 map this change in opinion in Britain and Australia, and stand out as contemporary narrative explorations of the legitimacy of the British monarchy: The Queen (Stephen Frears, 2006) and The King’s Speech (Tom Hooper, 2010

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

by its internal agreement about the sacredness of certain fundamental moral standards’. 22 The ‘Queen of the South’ as a title or as a position has no historical basis, although its legitimacy may appear rather confusingly confirmed by the existence of the local football team, Queen of the South, a name derived from a poem by local poet David Dunbar (1828–73) which pronounces the town of Dumfries

in The British monarchy on screen
Open Access (free)
The King’s Speech as melodrama
Nicola Rehling

film verifies), enabling it to reaffirm its legitimacy in postmodernity. NOTES 1 Peter Bradshaw, ‘Oscars 2011: the Academy and the elderly genuflect to The King’s Speech ’, Guardian (28 February 2011 ), www.guardian.co.uk/film/2011/feb/28/oscars-2011-the-kings-speech1

in The British monarchy on screen