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

precisely the fate of the late modern monarchs on film: they are ceremonial monarchs who merely reign, whose actions are limited by constitution and convention, whose political power is severely circumscribed. These are monarchs, then, who accede executive power to the elected politicians, the prime minister and the government. Obliged by constitutional law to stand above politics, their power is thereby

in The British monarchy on screen
Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen
and
Barbara Straumann

twentieth century. Discussing Elizabeth I as an early modern political media diva may seem preposterous, and yet our claim is that she anticipates the very enmeshment between celebrity culture and political power that is so particular to the charisma of celebrities in the public arena in the twentieth and early twenty-first century. What is at stake in our discussion is, therefore, a self-consciously ahistorical reading

in The British monarchy on screen
Open Access (free)
Mandy Merck

international, masked or made manifest the political power of the British monarchy? 1 Elizabeth II is escorted to the 2012 London Olympics by James Bond (Daniel Craig), as filmed for the BBC by Danny Boyle. In what way is the significance of that institution inflected by the key genres

in The British monarchy on screen
Open Access (free)
Woman in a Dressing Gown
Melanie Williams

Anglophobia (‘May the English lose the Middle East soon if the loss of their political power could restore their sense of beauty,’ for example) and virulent misogyny. Woman in a Dressing Gown rejects Godard’s suggestion that the basic situation ‘should at least have been handled with humour. Alas! Alas! Alas! Cukor is not English’. Why is the possible abandonment and unhappiness of a

in British cinema of the 1950s
Open Access (free)
Joshua Foa Dienstag

to separate political power from its direct exercise by majorities, and then to justify that separation. So who, really, is the unwashed democrat here? The unvarnished one? Shall we praise democracy as we find it (when we find it), or as we hope it will be, a democracy to come (as Derrida puts it)? No doubt political theory should elaborate ideals and give

in Cinema, democracy and perfectionism
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

. If The Philadelphia Story questions itself as a piece of pornography, Rules questions itself as an exercise of political power, the power to force an outcome onto other humans at the potential cost of their lives. As the party progresses in the culminating scene, things get out of hand and the music becomes discordant. What seemed a polite game and dance becomes impolite

in Cinema, democracy and perfectionism