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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

, the museums and so forth). Simultaneously, a flood of immigrants from Asia and the global south sought refuge in the world’s remaining super-power. Social and cultural elites (educators, state officials, public institutions and the like) reacted to identity politics and immigration with approbation or alarm: some urged a full embrace of multiculturalism while others worried about the fragmentation ensuing

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

person’s memory – is figured as a form of addiction. The film is set in Los Angeles, on New Year’s Eve 1999. The Los Angeles of the film is a chaotic, multicultural world of violence, epitomised by the assassination of Jeriko One, an important African-American rapper and a vocal opponent of white oppression. Rather than confront this bleak reality, people buy ‘wire trips’, which are memories that can be

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

, ‘the sixties’ emblematised the lapsarian moment from which a diagnosis of contemporary malaise took its form and force. In right-wing rhetoric, symptoms linked to the 1960s could include anything from the breakdown of the family and the rise in violent crime, to the emergence of multicultural separatism and the crisis of university education. The liberal-left response, vociferously argued by the so

in Memory and popular film
An allegory of imperial rapport
Deirdre Gilfedder

Britain. 27 Yet they also signal its declining relevance in an increasingly multicultural society with the narrow focus on the ‘Anglo’ white male dissipating in the films of the 1990s and beyond. Felicity Collins and Therese Davis demonstrate the rupture that the Mabo decision of 1992 (a High Court decision that allowed Indigenous Australians to claim their land rights) brought to Australian cinema, 28 introducing a

in The British monarchy on screen