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Ian Scott and Henry Thompson

the son that Pagniacci’s father really wanted. The real tension between Pagniacci and D’Amato is a symbolic sibling rivalry in which D’Amato’s stance is vindicated. In the closing seconds of the Knights game, Pagniacci confides to her mother that things are out of control, and wonders aloud if it is her who is losing perspective. She apologises to her mother for her behaviour. After the game, D’Amato reminds Beamen of the game’s ethos: on any given Sunday, you are either going to win or lose. Beamen completes the aphorism: can you win or lose like a man? Finally

in The cinema of Oliver Stone
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Ian Scott and Henry Thompson

third by Stone. Yet P o l itics Politics as cultural authority 91 Th e ci nem a of Ol iver   S to ne 92 there are arguments to support not only the rehabilitation, but the advancement, of the second film in each couplet above their more famous and acclaimed sibling. Capra’s State of the Union gave a rare post-​war insight into the machinations of politics in the late 1940s and the ‘Beltway’,34 insider mentality that had long taken a hold of Washington. Frankenheimer’s Seven Days in May was an all-​too-​realistic appraisal of the ways in which a coup d

in The cinema of Oliver Stone
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Mandy Merck

Afternoon Tea in the Gardens of Clarence House , followed in 1900 by the very popular Children of the Royal Family of England showing the future Edward VIII ‘at play’ with his young siblings. Victoria was not only the first British monarch to be filmed; her reign became talismanic for producers eager to invoke its power and prosperity as the Empire was threatened with war, rebellion and economic collapse. On the eve of the Great

in The British monarchy on screen