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The complexities of collaborative authorship
Paul Henley

Bali that participatory and reflexive authorial strategies are most developed. All but one of these five films concern Jero Tapakan, a traditional healer who seeks to help her clients through contacting the spirit world to establish whether their illnesses and misfortunes have a spiritual origin or are due to a failure to make appropriate ritual offerings. But she also diagnoses and treats more physical illnesses through massage therapy, and prescribes certain herbal remedies that she herself prepares. In the first of the films about Jero

in Beyond observation
Paul Henley

with ≠Khomani San elders, not only the material facts of their use of their ancestral lands for subsistence purposes, but also their cultural appropriation of these lands in the form of the naming of landmarks, burial sites, stories of childhood experiences and other indicators of cultural significance. One of those involved in the project was Nigel Crawhall, a sociolinguist working with the South African National Language Project. As Crawhall had studied in Canada, he knew of Brody's work on cultural mapping in connection with the land rights claims of the Canadian

in Beyond observation
Open Access (free)
Ian Scott and Henry Thompson

wound of a rotten field in Vietnam.1 Oliver Stone penned these words, not as part of some reflective memoir of his experiences as a soldier in the Vietnam War, but immediately upon return from his first trip to Saigon in 1965 where, during a year away from his studies at Yale University, he had done nothing more dangerous than work as an English teacher in a Catholic school. US forces had begun arriving in Vietnam during that year as part of a dramatic escalation, although the ground war that would engulf American foreign policy for the next decade was not yet

in The cinema of Oliver Stone
Open Access (free)
Beyond the burden of the real
Paul Henley

every year, Gardner travelled all over the world to make his films, rarely lingering long enough in any one location to develop profound personal relationships with the subjects, to learn their language or engage in any extended ethnographic research. Even so, there is much that ethnographic film-makers can learn from the detailed study of his works, in particular with regard to way in which he seeks to communicate both meaning and experience, not through verbal language nor by means of the mimetic reproduction of the world in a direct observational manner, but rather

in Beyond observation
Open Access (free)
Ian Scott and Henry Thompson

fashion.12 The space for polemical drama contracted for a time after 9/​11, and Stone concluded that documentary might offer the best opportunity to make his institutional point.13 Yet his own experience offered clear evidence of a growing problem for the USA as a functioning democracy: how to service the need for competing views and narratives –​the ‘marketplace of ideas’ –​in an environment where news and entertainment executives did not want to appear to be on the ‘wrong side’ of the administration’s ‘War on Terror’. Recognising, much less saying something of that

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)
Ian Scott and Henry Thompson

provided the subject matter as well as the artistic chance to proffer political ideas and critiques, with an individual shooting style that began to hone his fabled visual immediacy. Unlike the firsthand experience in Vietnam, Stone’s education concerning Central American politics was gifted to him by an old friend, Richard Boyle, in dramatic fashion. A journalist whom he had known for a number of years, Boyle persuaded Stone to go on a trip to El Salvador in early 1985 to prepare the first draft of a screenplay about the violence that Boyle had seen there. What P o l

in The cinema of Oliver Stone
Open Access (free)
Ian Scott and Henry Thompson

-​liberal political and economic dominance, have come to appear as immutable facts rather than ideological preferences.9 Th e ci nem a of Ol iver   S to ne Wall Street 124 In summer 1987, the US stock market was experiencing a boom that was coming close to eclipsing the previous record of the century, achieved in the five years preceding the crash of 1929. Just a few months earlier, in January 1987, the economist John Kenneth Galbraith had written what proved to be a prophetic warning about the direction that the market was taking. In particular, Galbraith detected a real

in The cinema of Oliver Stone