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Ian Scott and Henry Thompson

itics Stone saw shocked him –​the consequences of the civil war, as well as the social and economic reach of Cold War policy –​but he knew that there was exciting material for a film too.11 However, following the trip, there was still no way to finance the film.12 In March 1985, Stone’s father Lou was hospitalised, and within a few days passed away. It had been Lou Stone’s scepticism about his son’s ability to write that had fuelled the fires of Stone’s military stint in Vietnam. He later recalled that the reconciliation he had with his father was not all that he

in The cinema of Oliver Stone
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Ian Scott and Henry Thompson

about broader institutional accountability had still not been answered. The scepticism that had underpinned Salvador’s critique of US foreign policy was grandstanded both in Stone’s use of President Eisenhower’s farewell address and referencing of the military industrial complex, and in the pivotal scene involving District Attorney Jim Garrison (Kevin Costner) and X (Donald Sutherland) in JFK. Banks and the armaments industry were the beneficiaries, it is suggested, of Kennedy’s removal, and Stone pushed the suggestion further in Nixon by characterising malign forces

in The cinema of Oliver Stone
Robert Murphy

Gentleman (1957) and Dickinson’s Queen of Spades (1948) and Gaslight (1940). The high estimate put on the English films of Joseph Losey, the determination to disrupt the aura of reverence around the British Documentary Movement, the questioning of the importance of Free Cinema and scepticism about the status of The Third Man (1949) as a masterpiece, were shared by other young critics, particularly the

in British cinema of the 1950s
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Memory and popular film
Paul Grainge

‘deformed and transformed’ by its essential materialisation within mass culture. The attendant ‘collapse of memory’ that Nora posits is based on a premise that memory is a matter of retrieving and reliving experience rather than something that is bound in, and structured through, representation and narrative. While not all would agree with Nora’s romanticised notion of spontaneous memory, there is enough critical scepticism felt

in Memory and popular film
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Jeffrey Pence

scepticism towards narratives of progress, how then does the progressive view of temporal consciousness implied by the derogation of nostalgia remain so readily acceptable? Perhaps nostalgia is less a problem here, than the nostalgia implied by negative interpretations of the disposition. It is on this ground of memory that I wish to bring Jameson and Egoyan together. For the latter, memory and technology seem closely

in Memory and popular film
Mandy Merck

developments signalled by the English revolution (religious scepticism, political contractarianism, scientific empiricism and an interest in what would now be called social psychology) included a sustained philosophical discussion of fame, variously articulated as ‘honour’, ‘reputation’ and ‘esteem’ by Thomas Hobbes, David Hume and Adam Smith. Hobbes was an English royalist forced to flee the

in The British monarchy on screen