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The King’s Speech as melodrama

work’, a reference to the very real threats posed by republicanism and socialism at this time. Indeed, for historian David Cannadine, it is precisely the ‘invention’ and performance of royal rituals and traditions, perfected at the end of the nineteenth and beginning of the twentieth century, which prevented the British monarchy from suffering the same fate as its Austrian, Prussian and German equivalents. 31 None

in The British monarchy on screen
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Fixing the past in English war films

, and have triumphed over it, to build their own life once and for all. 1 This the voice of a member of one of the greatest English traditions: that well-educated, internationalist-minded, generous-hearted and courteous fraction of the non-exploitative bourgeoisie which is one recruiting ground for the best of dissenting English socialism

in British cinema of the 1950s
Consumerism and alienation in 1950s comedies

. 12 André Gorz, trans. Michael Sonenscher, Farewell to the Working Class: An Essay on Post-Industrial Socialism (Pluto Press, 1982), p. 36. 13 Giles Mitchell, The Art Theme in Joyce Cary’s First Trilogy (Mouton, 1971), p. 102. 14

in British cinema of the 1950s
Isadora Duncan’s danced revolution

taking public space, and equal as a woman re-​signifying perceptions of society in her treatment of all women and men as appropriate recipients of her choreographic revolution. Isadora Duncan’s relationship to equality cannot be understood by singular categories such as feminism or socialism; she demanded equality in every moment in which she performed and exhibited her radically new language of movement. Indeed, we must understand her revolution in categories that she constituted through dance. Let us once again contract into Isadora Duncan’s body in her moment of

in Dance and politics
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Yale’s Chronicles of America

of strikebreakers and the use of gas and machine guns against strikers, the latter often stockpiled in anticipation of a strike. 22 The conflation of Americanism and anti-unionism entailed forging links between labour and socialism or Bolshevism or anarchy, distinct political positions collectively labeled ‘Reds’ or ‘radicals’. Despite the fact that many labour leaders, such as Samuel Gompers

in Memory and popular film
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‘provocative, if shallow, exaltation of Latin American socialism’. He concluded that the film was ‘a valuable, if naïvely idealistic, introductory tutorial on South America’s leftward political drift’, grudgingly commending Stone’s didactic and pedagogic approach.58 However, writing in the same paper one day later, Larry Rohter offered a pointedly dismissive assessment: 106 ‘South of the Border’ is meant to be a documentary, and therefore to be held to different standards. But it is plagued by the same issues of accuracy that critics have raised about his movies, dating

in The cinema of Oliver Stone