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The Pony Express at the Diamond Jubilee
Heidi Kenaga

1,400–seat Imperial theatre, the city’s leading extended-run venue, as part of their purchase of the Rothchild chain. 21 Debuting The Pony Express during the Diamond Jubilee would help the studio build fruitful associations (both short and long-term) between cinematic text and historical pageantry, offering patrons a suitable commemorative document as well as evidence of their commitment to Americanism. At the same time

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

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

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
Sarah Easen

such as North Sea (1938), sturdy educational films such as Gaumont-British Instructional’s Downlands (1936) and, of course, the Festival films Forward a Century and Family Portrait . 17 Finally, if Festival visitors had not tired of the medium, they could purchase colour 16mm film of Britain’s historic buildings and pageantry and filmstrips of the Festival of Britain and London as souvenirs

in British cinema of the 1950s
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

help to modernise and democratise the image of monarchy. On the one hand, there is the ordinariness and humanity of the royal family; on the other hand, this is off-set by the extraordinary cinematic spectacle of monarchical ritual, ceremonial occasions, palatial settings and majestic costumes. Cinema thus plays a part in the reinvention and renewal of pomp and pageantry around the monarchy, situating

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

perspective, exploring the industrial context within which popular commemoration films emerged in the 1920s. Her chapter, ‘Civic pageantry and public memory in the silent era commemorative film: The Pony Express at the Diamond Jubilee’, more closely examines the commercial status of the popular memory texts inferred in Pearson’s essay. Specifically, Kenaga explores the means by which studios refigured lowbrow genres such as the

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

This seems to express what many contemporaries also felt, that the figure of Victoria somehow eclipsed the pageantry all around it. Through film this microcosmic image of the Queen, always seen distantly by the lenses of the time, circulated globally. The contrast between such an image and the ‘official’ Jubilee close-up portrait photographs could not be greater. Before 1896

in The British monarchy on screen
James Downs

programmes for Sixty Glorious Years were emblazoned with gold-leaf covers and heraldic crests. Despite his role in all this patriotic pageantry, almost a decade would pass before Walbrook took British citizenship, swearing allegiance to King George VI, the great-grandson of Prince Albert, on 7 January 1947. And although he received great acclaim for his performances in The Red

in The British monarchy on screen
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

of royal weddings brings together a number of different aspects of Britishness that all cluster around the theme of fashion, namely industry, commerce, craftsmanship, pageantry, tradition, innovation and international importance. It is as though each is attempting to hold together the past and present within Britain, with fashion as the tie that binds them. Fashion paradoxically both looks back and

in The British monarchy on screen
Outdoor screens and public congregations
Ruth Adams

, himself a romantic devotee of pageantry and the monarchy, rapidly recognised the power of the new medium to convey a sense of participation in ceremonial which had never been possible before. So, from the time of the Duke of York’s wedding in 1923, ‘audible pageants’ became a permanent feature of the B.B.C.’s programmes, as each great state occasion was

in The British monarchy on screen