Search results

You are looking at 1 - 10 of 14 items for :

  • "sexuality" x
  • Manchester Film and Media Studies x
Clear All
Open Access (free)
Ian Scott and Henry Thompson

less staging posts for institutional and historical assessment, than driving forces for more self-​conscious storytelling. Melodramatic devices in turn contributed to a shift in the way that female roles contributed to the narratives, resulting in a much richer examination of gender than in the early films. In Any Given Sunday (1999), Christina Pagniacci (Cameron Diaz) assumes a strong role that is not in any way propped up Lo v e by her sexuality. She is playfully undaunted by the sight of naked football players in the changing rooms, while asserting her own

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

to some degree. I think there was some issues with The Doors because of sexuality, but I can’t remember –​we may have cleaned it up. In Heaven and Earth there was a vivid rape scene and CARA made suggestions. We went to see CARA, and tried to maintain a friendly relationship. Heffner was very good at this. CARA would seek to help by making ‘under the table’ suggestions so as to avoid giving an official rating R, or whatever, which would then get in the newspapers and become an issue. I remember doing this several times, where the issues would be dealt with quietly

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

 –​that he settled his contract with her father over a beer and a handshake –​echoes the paternalistic sentiment that she has heard just a few minutes earlier from her advisor. Thus Pagniacci is confronted with a questioning of her authority that conflates her relative youth and gender: a stereotype that Diaz was sensitive to in the role. In a pre-​shooting discussion with Stone in November 1998, she had voiced a concern that her character appeared to be using sexuality as her principal asset. Stone accepted the concern, and spent time with colleagues Dr Robert Huizenga

in The cinema of Oliver Stone
Open Access (free)
Quentin Crisp as Orlando’s Elizabeth I
Glyn Davis

’s queerness)? How might Orlando ’s gay/queer politics be unpacked, and how are these imbricated with its representation of royalty? REVISITING THE QUEER CINEMA ‘MOMENT’ The late 1980s and early 1990s, the time of Orlando ’s production and release into cinemas, was a rich cultural period in terms of representations of gay/queer sexuality, and one marked by debate, disagreement and dissent. Potter’s Orlando

in The British monarchy on screen
Robert Murphy

romanticism, politics, class, masculinity, sexuality and social problems. Durgnat writes appreciatively about Hammer and Gainsborough, purveyors of despised melodramas and horror films; he takes Powell and Pressburger seriously and gives sympathetic consideration to directors like Val Guest, Roy Baker, J. Lee Thompson, Basil Dearden, Roy and John Boulting and John Guillermin who were regarded as irredeemably

in British cinema of the 1950s
Separate Tables, separate entities?
Dominic Shellard

part of the character of the Major was originally conceived: obviously homosexuality. 4 He himself felt obliged to conceal his sexuality, but he also wanted to show not only a version of the love (or sexuality) that dared not speak its name, but the tolerance of this love by ordinary people. This had been recently demonstrated after the

in British cinema of the 1950s
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

revisits the 1950s through the auspices of its televisual media, exploring and, ultimately, undoing the constrictive limits of its projected cultural fantasies about domesticity, sexuality, gender and community. Pleasantville begins by screen-rushing a catalogue of contemporary afflictions and apocalyptic scenarios: colour news clips and classroom statistics about unemployment, AIDS and ecological

in Memory and popular film
Open Access (free)
Pat Jackson’s White Corridors
Charles Barr

sexuality is released in the Dracula films at the end of the decade, so the repressed spirit of scientific enquiry finds its way into the figure of Dr Frankenstein. 9 For a fuller discussion of this actor and of the values he represents, see my essay ‘Madness, Madness: The Brief Stardom of James Donald’, in Bruce Babington (ed

in British cinema of the 1950s
Open Access (free)
Woman in a Dressing Gown
Melanie Williams

déshabillé sexuality. Amy aspires to be the perfect housewife but, despite several frantic attempts to get her house in order, never quite manages it. The mise-en-scène acts as a constant reminder of Amy’s failure, showing her home crowded with piles of unironed laundry, unwashed plates and unfinished mending, all of which prompted Raymond Durgnat to describe the film as ‘a rhapsody of bad housekeeping

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

sexuality of both Burton’s Jimmy and Gary Raymond’s Cliff. The latter is a ‘cuddly bear’ of a character in the play, whose friendship with Alison is non-sexual. In Richardson’s film, he is more recognisably a late 1950s/early 1960s type, a single, sexually active (and sexually attractive) refugee from the provinces (Wales), who has pictures of women on his bedroom walls and boasts of his sexual

in British cinema of the 1950s