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Open Access (free)
Ian Scott and Henry Thompson

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

in The cinema of Oliver Stone
Contemporary ‘British’ cinema and the nation’s monarchs
Andrew Higson

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

in The British monarchy on screen
Open Access (free)
The complexities of collaborative authorship
Paul Henley

. 5 However, the authorial strategy of allowing the subjects themselves to narrate the films in which they appear, however mediated this may have been, and however imperfectly realised, was a genuinely original idea, at least in English-language ethnographic film-making. The same is true both of building an ethnographic film around a subject's life history and of incorporating feedback processes directly into a film. These strategies may now seem almost self-evident, but in the 1970s and 1980s, as

in Beyond observation