Search results

You are looking at 1 - 10 of 22 items for :

  • Intervention x
  • Manchester Film Studies x
Clear All
Open Access (free)

caricatures of villainy or even, implicitly, the sexual behaviour of the girls themselves. This implication was deliberately strengthened by the censorship authorities. In its textual interventions on the play text, the Lord Chamberlain’s office came firmly down on the side of respectability and a sternly moralistic interpretation, demanding that the bleak line ‘There is nothing wrong in being raped’ be

in British cinema of the 1950s
From Vietnam to the war in the Persian Gulf

of three powerful ‘truth effects’. 50 First, to accept the myth that there are Americans still being held in Vietnam is to begin to retrospectively justify the original intervention. If the Vietnamese are so barbaric as to still hold prisoners decades after the conclusion of the conflict, then there is no need to feel guilty about the war, as they surely deserved the full

in Memory and popular film
Consumerism and alienation in 1950s comedies

the collective action of the police, but this is possible because of the intervention of anti-consumerist consensus. The robbers are first obstructed by a stall keeper who mistakenly thinks that Pendlebury has stolen a painting. The arrival of the police warns of the dangers inherent in the gang’s inability to grasp that consumerism is dependent upon exchange value – all they can exchange for the

in British cinema of the 1950s
Open Access (free)

Jeffersonian in this outlook.) He displays an opposition to privilege, corruption and elitism. His production company Ixtlan is relatively modest by Hollywood standards, yet it works unabashedly within the ‘system’ as well as within its own independent confines. In Stone’s lifetime the USA moved from the vision of Henry Luce to the cautionary observations of, in recent times, George Packer and Edward Luce.10 Stone’s leanings as a political advocate have followed a not-​dissimilar pattern. His is a view that still sees the possibilities for intervention on the global stage

in The cinema of Oliver Stone
Open Access (free)

Hollywood in tow, reasserted its hegemony in the post-​Vietnam era. American global strategy was made manifest in a series of interventions in Haiti, Panama, Somalia and the Balkans in the late 1980s and early 1990s. Most notable was the Wa r Born on the Fourth of July and Heaven on Earth 41 Th e ci nem a of Ol iver   S to ne 42 incursion into Kuwait and Iraq, where live-​action news feeds of missiles closing in on their targets became the visual motif of this new panoptic military ascendancy. The advocates of this reinvented interventionist stance also found a

in The cinema of Oliver Stone
Open Access (free)
Pleasantville and the textuality of media memory

identifies when textual traces of the past come into ideological and cultural mediation with the present. Pleasantville is less concerned with the degree to which individuals impact upon historical events and happenings (as in Forrest Gump ) , than with the reflective engagement, intervention and re-constellation of history’s semiotised traces. Through David and Jennifer’s own textual adventure – an

in Memory and popular film
Open Access (free)
Baker and Berman, and Tempean Films

reason for so little notice having been taken of so vast an area of film-making (much of it certainly deserved no more) may be that reviewers almost never saw or reviewed these films. They were both prolific and disregarded. They made their way direct to the public without the intervention of quality-minded middle-brow critics. Third, Tempean turned out ‘B’ movies at a more sustained level of competence

in British cinema of the 1950s
Open Access (free)

, have something to do with the way that the films were conceived and the reception around them handled? Certainly, the Clintonian, post-​Cold War 1990s seem a more halcyon interlude now, looking back: a coda to the 1950s where the imminent threat of total war was replaced by the strategic anxieties of individual campaigns. As the Cold War ended, and even allowing for interventions such as Bosnia and Somalia, the 1990s could be seen retrospectively as a staging post: the calm before the storm of 9/​11 and the Bush Doctrine that followed.9 In that temporary lull, Stone

in The cinema of Oliver Stone
Open Access (free)

forged over many years. His interventions in script development and in pre-​production planning ensured that Wall Street: Money Never Sleeps was being shaped by two key personal considerations: a sense of what would work dramatically, and a reticence to fall in line with an emerging affectation in cinema –​the need to be pessimistic.32 Like the Fox executives, Stone hoped for a lucrative sequel but commercial success had to follow the vision, rather than set it. Despite Stone’s acknowledgement of the importance of industry patrons, his commitment to Wall Street

in The cinema of Oliver Stone
Open Access (free)

had their fates sealed by her. Jake is lying dead beside her in the ravine, and the sheriff is lying dead on the highway. Bobby gets the better of her momentarily, but she is still alive and close enough to hear the intervention of fate as Darrell’s repair to the Mustang’s radiator Lo v e I hate loving her. I hate having to tolerate the little games she plays, like fucking half this town behind my back and laughing at me. The bitch! You know, she wants me to hit her, and then when I hit her she likes it. She just likes to fuckin’ torture me, goddam it. But … she

in The cinema of Oliver Stone