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– easy contrasts being between narrative cinema and the fragmentary action and spectacular intensity of music videos or the idiosyncratic variability of interactive web experiences. In technological, textual and structural terms, these different media compete for preeminence, for literal and symbolic capital, in an increasingly global context. This chapter focuses on the agonistic dimension of

in Memory and popular film
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Memory and popular film

metanarratives of American memory began to strain for legitimacy against the multiple pasts of the marginalised. This must be set within a broad climate where national identity itself was, and continues to be, called into question by transnational political and economic restructuring. If memory discourses have accelerated in response to crucial changes in the ideological structure of US society – symptomatic, according to Andreas

in Memory and popular film
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preparations for shooting the script, the more it became clear to me that we really couldn’t shoot that script, and it needed restructuring. I worked on it before, during and after, trying to solve the structural problems and also trying to add some spirituality to the dialogue –​it was their spirit that kept them alive. I didn’t go for co-​credit: it was Andrea’s first script. It was a difficult script to shoot. We had to alternate light and dark to prevent the viewer having to look at too much content in darkness. It was also hard technically shooting in the holes because

in The cinema of Oliver Stone
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The Queen in Australia

nations. Gratified to be amongst the chosen and alert to possibilities for their own touristic exposure, the sites on the route furnished an exotic global backdrop for royal dramaturgy. Venues and events were prepared for a year in advance. In Suva the ‘enterprising officer of the public works Department’ who cheaply and cunningly disguised unsightly damage from a recent cyclone and drought was awarded

in The British monarchy on screen