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The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

a resilient example for a complex gendering of sovereignty in the context of the mass consumption of politics. Elizabeth I is perhaps not the only early modern queen but certainly one of the most memorable ones to use her public self-display – both her actual body and its diverse representations – to strengthen and disseminate her political power. The many portraits brought

in The British monarchy on screen
Open Access (free)
Dana Mills

deprivation of dignity. I seek to find moments in which dance is utilised from the bottom up, protesting a wrong, namely the marginalisation of individuals who are deemed voiceless, less than human. I draw my case studies from one of the areas which is of key interest to human rights activists and theorists worldwide. This is the struggle of the Palestinian people for sovereignty and recognition as a state under international law. This struggle enables the people of Palestine to make human rights claims within jurisprudential structures that belong to a nation state. This

in Dance and politics
Mandy Merck

the Queen clutching her hot-water bottle, the royal family could be the working-class Royle Family of British sitcom fame, 24 passively gripped by public events, confused and irritable, unable to hear the telly over the conversation. The Victorian social commentator Walter Bagehot observed that the notion of a ‘family on the throne … brings down the pride of sovereignty to the level of petty life

in The British monarchy on screen
The Pony Express at the Diamond Jubilee
Heidi Kenaga

offered contemporary spectators a more laudable Western progenitor committed to sovereignty of nation rather than pragmatic racial accommodation and economic opportunism. And by obscuring the Pony Express’ historical origin as a business venture in favour of its role in ensuring Lincoln’s mandate, the narrative motivates the emergence of the transcontinental connection not in commercial, but rather

in Memory and popular film
Open Access (free)
Mandy Merck

sovereign’s natural body and persists in the body political, guaranteeing the institution’s immortality. 9 As a female monarch, Elizabeth I was constituted by a normatively masculine symbolic body and a feminine natural one, a duality that is also marked in the relations of gender to power in her cinematic representation. Addressing the conflict between private person and public persona particular to female sovereignty, Elisabeth

in The British monarchy on screen
Screening Victoria
Steven Fielding

predominance of men at Westminster is one reason given for women’s continued low participation in, ignorance about and antagonism to formal politics. 60 It is, to say the least of it, ironic that the monarchy, that part of the constitution immune to popular sovereignty, is at the start of the twenty-first century represented in the terms outlined in this chapter. To those with an interest in the health of

in The British monarchy on screen
Open Access (free)
The Queen in Australia
Jane Landman

condense messages about continuity as well as postwar restoration and renewal. The tour’s rituals and speeches enacted a ‘new’ commonwealth semiosphere. This reimagining foregrounded the ties of ‘affection and loyalty’ binding territories to Britain, ties formed by sovereignties freely ceding to Empire, in order to shelter under the protection of democratic Westminster practices. Though her patrimony, youth and

in The British monarchy on screen
Mia-Marie Hammarlin

of and feared (Darnton 1997:14–17).6 Consequently, the French police were given the task of preventing the dissemination of rumours because it was understood that dangerous talk could escalate into scandals, which constituted a threat against those in power in the country at a time characterised by political change. Even if the King’s sovereignty was total, public opinion – that is, the people – had a fair amount of influence over which ministers had to leave their positions and which could remain in their posts (Darnton 2004:110–19). In addition to regularly

in Exposed