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The Pony Express at the Diamond Jubilee

American producers (especially Paramount) cultivated this cycle with a view toward exploiting its public relations utility. By transforming the erstwhile materials of dime novels into ‘authentic’ documents of national culture, the studios sought to legitimise their market dominance and burgeoning social power. As such, I argue that these films should be reconceptualised as key commodities of the heritage

in Memory and popular film
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

in The British monarchy on screen
Open Access (free)
The Queen in Australia

relations ‘opportunity … of the century’. 14 REBRANDING THE COMMONWEALTH IN THE PACIFIC Legislatively, the ‘new commonwealth’ came into being in the interests of securing an ongoing relationship with independent India. It was a means to retain a monarch as head of a multiracial family – ‘a worldwide brotherhood of nations’ with republican members. 15 This shift anticipated broader

in The British monarchy on screen
Open Access (free)

3 Money Introduction In Wall Street:  Money Never Sleeps, the banks have taken over Gekko’s job. I was shocked when I went back to this in 2010. In Wall Street, Gekko had been the outsider, the inside trader guy, the thief, the blackmailer –​and that’s what the banks do now. In the old days the banks would never have done that, it was considered immoral, but by 2010 the whole thing had shifted because of deregulation.1 By the time Wall Street: Money Never Sleeps hit cinemas in September 2010, banking, the financial markets and capitalism in general had all

in The cinema of Oliver Stone
Open Access (free)
Memory and popular film

structure of memory (and not just its contents) is strongly contingent upon the social formation that produces it’, 13 memory has been theorised in terms of a formation where new technologies and multinational organisations of capital have engendered a culture of hyperreality and capitalist hyperdevelopment, where changing relations of space and time have produced a culture ‘haunted by the explosion of temporality in the

in Memory and popular film
Open Access (free)
An allegory of imperial rapport

establishment of what has long been termed in Australia, a ‘bunyip aristocracy’. 2 It also revealed the complexity of an entirely independent Australia’s relationship to the British monarchy. This return to royal honours comes in the wake of a series of mediated public relations ‘successes’ for the British royal family in the twenty-first century. In Britain the wedding of Prince William and Kate Middleton, the

in The British monarchy on screen
Screening Victoria

extent to which Victoria was – as Princess Diana was popularly thought to be – a victim of tradition. Mrs. Brown (1997) has Victoria trapped by protocol: only John Brown talking to her directly, like a woman, saves the Queen from her own morbidity. As The Young Victoria (2009) has it: ‘Even a Palace can be a prison.’ AN AMERICANISED MONARCH There has always been a market for

in The British monarchy on screen
Open Access (free)
Civil rites of passage

Sunday’ in 1965. They marked the 35th anniversary on Edmund Pettus Bridge, itself a solid signifier of the Movement past in popular memory. Commemorations reinforce the significance of the Movement as mythology and as catechism, as well as history. Heritage tourism is the fastest growing feature of the leisure market according to Angela DaSilva, who founded the National Black Tourism Network in 1996

in Memory and popular film
Open Access (free)
Royal weddings and the media promotion of British fashion

places – in this case London and Britain. Those places, along with their brand narrative, are then used to promote trade, in this case fashion, to international markets. As well as the promotion of London in relation to projected ideals of historical British moments, this media coverage also highlights the links made between British fashion and London. London as a place has a strong presence throughout the

in The British monarchy on screen
Open Access (free)

 –​a deliberate ploy that drew criticism from some observers, but which rewarded viewers with an emotional depth rarely seen in Stone’s movies previously. The cumulative result from U Turn onwards was a remix of character approaches that flew in the face of accepted wisdom about Stone, his ‘hyper-​masculinity’ and his (perceived previous) failure to position important female characters within his stories.8 Therefore, familial relations, a degree of pathos and female empowerment added up to a more expressive use of melodramatic markers for Stone that circled themselves around

in The cinema of Oliver Stone