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Ian Scott and Henry Thompson

Cannes Film Festival in May 1997. However, at a press conference in Paris on 22 April 1997, the Festival chair, Gilles Jacob, indicated that his committee had seen the film: far from intimating that it had many things to say Lo v e about relationships, loyalty and sacrifice, Jacob said it was just too violent.20 Rebuffed, the film eventually made a festival appearance at Telluride at the end of August, and opened in the USA on Friday 3 October 1997, although not before some changes had been made to the version prepared in the spring. In an internal memo from Phoenix

in The cinema of Oliver Stone
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History, legend and memory in John Sayles’ Lone Star
Neil Campbell

History is inseparable from the earth [ terre ], struggle is underground [ sous terre ], and, if we want to grasp an event, we must not show it, we must not pass along the event, but plunge into it, go through all the geological layers that are its internal history . . . to connect it to the silent

in Memory and popular film
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New retro movies in 1990s Hollywood cinema
Philip Drake

investment in the past (and in vinyl). His subsequent purchase of a Delfonics tape endows the song with a specific narrative function, conveying a sense of emotional connectedness between characters never made explicit in their conversation. The music is used internally and self-consciously – the characters comment upon the music, and it is passed between them symbolically. One reviewer of the film – Erik

in Memory and popular film
Open Access (free)
Ian Scott and Henry Thompson

triggered his imagination, and produced a dawning realisation that photography provided a bridge between internal writing processes and the outside world.8 Stone arrived back in the USA in November 1968, to a country changed by the war in a manner later brought to life in Born on the Fourth of July (1989). The clichés and stereotypes have now taken a hold in the popular imagination, but for Stone, the fallout and rehabilitation were all too real. He took a road trip through California and on into Mexico. Upon his return, he was arrested in San Diego for possession of

in The cinema of Oliver Stone
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An allegory of imperial rapport
Deirdre Gilfedder

referenced by the depiction of Logue’s shabby rooms as well as a shot of the street where he lives with his family, figured as a slum littered with refuse and street urchins. The Yorks meanwhile live in a grand house. The dialogue constantly raises social difference through Lionel’s casualness and Albert’s stiff-upper-lip aristocratic manner. The problem of hierarchy, however, stretches beyond the British class system to the

in The British monarchy on screen
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Amateur film, civic culture and the rehearsal of monarchy
Karen Lury

by its internal agreement about the sacredness of certain fundamental moral standards’. 22 The ‘Queen of the South’ as a title or as a position has no historical basis, although its legitimacy may appear rather confusingly confirmed by the existence of the local football team, Queen of the South, a name derived from a poem by local poet David Dunbar (1828–73) which pronounces the town of Dumfries

in The British monarchy on screen