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the fabric of the national debate about the economy. Alongside works such as Caryl Churchill’s play Serious Money (1987)13 and Wolfe’s Bonfire of the Vanities (1987), Stone’s morality tale served both as catharsis and warning.14 It was also a marker for the transition then underway in the film and entertainment industry. Still flush from the first wave of regenerative profits flowing from a raft of Lucas–​Spielberg productions, and aided by the Mo ney The controlling fact is not the tendency to brilliant invention; the controlling fact is the shortness of the

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

the native populations. Perhaps even more curious than the omission of the white man’s mistreatment of the Indian is the omission of the Indian’s generous treatment of the white man, often the only factor saving the early colonists from starvation during harsh New England winters. The Pilgrims emphasises the threat posed by the Indians but not the aid offered. After the burial of a small child

in Memory and popular film
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signs of impatience, and on occasion has made unguarded comments which then had to be rowed back from, but it continues to command a hearing. Stone the filmmaker, documentarian, political firebrand and American, aided by a news-​scape that finally came round to questioning the ideological tenets of the post-​9/​11 age –​through Iraq, Afghanistan, extraordinary rendition, Assange and Snowden –​have fused together in a locus of opposition towards Big Government and corporations alike. Stone the Left-​leaning libertarian, we might say, his career and his astonishing

in The cinema of Oliver Stone
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Civil rites of passage

-interest and southern tradition were powerful forces which led to white women incidentally and inadvertently aiding the boycott. It is from this position that Miriam shows her support of Odessa. But, a change ensues that spurs Miriam into supporting the boycott itself, beyond the efficacies of her own self-interestedness. This change derives as much, if not more, from her shock and shame at her husband’s reactionary

in Memory and popular film
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History, legend and memory in John Sayles’ Lone Star

illegally, later seen aiding border-crossers to make a new start in America. And yet for much of the film Mercedes denies her past, as she has severed her connections to Mexican history and blocked out all her memories of the crossing and of the loss of her young husband Eladio at the hands of Wade. But as ever in the film, memory returns, provoked by contact with the actual present, for as Mercedes chooses whether or not

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

, so standard a joke in war films because so standard a succour in war, is eloquent of that customary decency and exchange. The pieties of a teacup will hardly do to enclose a world at war, but the war itself can hardly be comprehended and brought within a manageable frame of popular sentiment as contrived by those who did the fighting to show themselves and their children what it meant, without the aid of that mighty midget

in British cinema of the 1950s
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journalist and writer Eduardo Galeano first surveyed in The Open Veins of Latin America, originally published in 1971. In the closing lines of an addendum in 1976, Galeano wrote: ‘In these lands we are not experiencing the primitive infancy of capitalism but its vicious senility.’52 That prognosis was some way off. At this point several of South America’s leading states including Argentina, Bolivia, Chile, Paraguay and Uruguay were in the grip of a right-​wing military repression aided and abetted by a CIA-​funded programme known as Operation Condor.53 However, as Edward

in The cinema of Oliver Stone
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to give aid to Haiti, but not OK to criticise efforts in Iraq or Afghanistan, where we are destroying countries. This is an issue of political correctness. Movies critical of Iraq have not done well. In Platoon, I had a mix of dead stone killers and heroes which allowed me to attempt a reassessment of Vietnam. The film did show Vietnamese being killed and it did become a subject of discussion, yes. I was called a ‘baby killer’ and so forth, and people said that I should be tried for ‘baby killing’ and for ‘war crimes’. It was mentioned, but it was not the prominent

in The cinema of Oliver Stone
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An allegory of imperial rapport

Diana’s death. Meanwhile, Bertie (the Duke of York) in The King’s Speech is aided by his speech therapist, the unorthodox colonial Lionel Logue, who transforms the stuttering, younger brother of Edward VIII into a confident George VI. The plot turns on a familiar dramatic tradition where social opposites are paired to generate both drama and comedy, evoking such figures as

in The British monarchy on screen
Queen Victoria, photography and film at the fin de siècle

East in 1862 by another professional, Francis Bedford. All the princesses practised photography, and made up albums, like their parents, while Albert’s wife, Princess Alexandra of Denmark, eventually exhibited her work, and published a Christmas Gift Book of family photographs in 1908 to aid charities. Two major exhibitions have recorded the depth of Victoria and Albert’s shared interest in photography

in The British monarchy on screen