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] never really happened for me.” Midway during the first season, they separate and Philip moves into his own apartment, but, after a mission goes wrong and Elizabeth is shot and almost killed, she briefly wakes up and speaks to Philip in Russian for the first time. She says “come home.” This is the remarriage. How does this remarriage compare with the classic

in Cinema, democracy and perfectionism

survival of ‘corporate management’ is judged as more important than satisfaction of individual conscience. This theme was very strongly represented in Wouk’s stage play, The Caine Mutiny Court-Martial (1954), on which the film version of the same year, with Bogart as Queeg, was based. The massive nation state of Soviet Russia was believed to pose an active threat to the western world. Russia had, of course

in British cinema of the 1950s
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Kuznick saw as engraved within the nation’s public memory. Their treatise about these roots of empire was summarised in two programmes that were prepared, but which ultimately failed to make the final ten-​part package. In the first of these programmes, titled World War One: The Russian Revolution and Woodrow Wilson, government is projected as repeatedly supporting the interests of major American financiers and corporations through military intervention overseas. The chapter charts American expansionist policy under President William McKinley and his successors in the

in The cinema of Oliver Stone
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Yale’s Chronicles of America

, supported capitalism and opposed collectivist schemes, the press and government officials attempted to fuse labour and radicalism in the public mind, amplifying fears of the possibility of a communist revolution in the US similar to that which occurred in Russia in 1917. In 1919, for example, the influential Literary Digest ran articles entitled ‘American Labour and Bolshevisim’ and ‘Red Threat of a

in Memory and popular film
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Fixing the past in English war films

the London Blitzkrieg ), T.S. Eliot spoke of the mutual opponents in the English Civil War as afterwards ‘accepting the constitution of silence’ and as being ‘enfolded in a single symbol’. This is the necessary, not-always-accomplished restoration and reparation at the heart of narrative history. One might say that such reparation remains uneffected for the 1917 revolution and civil war in Russia

in British cinema of the 1950s
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one of several niche directors who sought to strike a different tone and maintain some of the agendas set by Pakula and Coppola a decade earlier. Alongside him, Warren Beatty, Constantin Costa-​Gavras and Mike Nichols all made important contributions to Hollywood’s more daring liberal wing, with movies such as Reds (1981), Missing (1982) and Silkwood (1983). The Russian Revolution, South American politics and corporate and political cover-​ups seemed unlikely subjects for critical let alone commercial successes during the decade, but each of the directors bucked the

in The cinema of Oliver Stone
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bureau, with the result that we went to war with the Russians in Afghanistan. That in turn led us to encourage the zealots there. What happened to the peace dividend after the end of the Cold War? When Obama gave that acceptance speech [12 October 2009] for the Nobel Peace Prize about America’s service to the world for the last fifty years, I felt like vomiting. It’s like he has bought into a doctrine of endless war. It is a crazy time. It’s almost an end time. Holy shit, what a way to go out! I hope there is some better news on the way. 273 Th e ci nem a of Ol iver

in The cinema of Oliver Stone
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made in an interview published in the Sunday Times in July 2010,79 in which he described Hitler as a ‘Frankenstein’ but that the monster also needed a Dr Frankenstein: the implication being that others both inside and outside Germany, including American industrialists, assisted with Hitler’s rise to power. Stone also bluntly suggested that Hitler may have done more damage to the Russian people than he did to the Jews. The American Jewish Committee was quick to claim that Stone had effectively ‘outed’ himself as an anti-​Semite.80 A swift apology on the same day was

in The cinema of Oliver Stone
Letter to M. Cavell about cinema (a remake)

place in the modern world, then, for a comedy of remarriage? In totalitarian nations, perhaps, they may do the most good. In those places where friendship itself is in danger of extinction from a government that turns citizen against citizen until no trust between them is possible. The descriptions of Soviet Russia and Maoist China that we have, where spying and denunciation were

in Cinema, democracy and perfectionism
Queen Victoria, photography and film at the fin de siècle

’s journal), the recently crowned Tsar of Russia, wearing plain country dress and walking respectfully alongside his wife’s grandmother. Nikolai had married Victoria’s granddaughter, Alix, Princess Alexandra of Hesse-Darmstadt, in 1894, the same year that his father Alexander III died, but was not crowned Tsar until 1896. Downey and Paul were both quick to advertise that they had ‘exhibited before Her

in The British monarchy on screen