techniques showcased in JFK and Natural
Born Killers among others were eschewed for a more pared-down
palate, visible in the cinéma vérité style of the Castro documentaries and the pedagogic techniques of presentation used in Untold
History. It added up to an auteurist instinct that was almost covering its artistic tracks.
Indeed, post-Sarris, post-structuralism and variants thereof, more
recent assessments of auteurism have given added emphasis to the
commercial aspects of a director’s brand. Undoubtedly, this has been
a strong dimension in Stone’s story too. By the
Contemporary ‘British’ cinema and the nation’s monarchs
contemporary experience and projection of British national identity and
ideas of nationhood.
These stories and characters are also of course endlessly
recycled in the present period in other media as well as through the
heritage industry. The monarchy, its history and its present
manifestation, is clearly highly marketable, whether in terms of
tourism, the trade in royal memorabilia or artefacts, or images of