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New retro movies in 1990s Hollywood cinema

make clear, a distinguishing feature of memory approaches to history is their concern with the process of memory on historical knowledge, in particular the contingency of the historically remembered past. Thus what we call the past is accessible only through private and publicly articulated memories, narrated through the perspective of the present. David Lowenthal has termed this memorial knowledge , knowledge of

in Memory and popular film

movement that has made contemporary cinema the emblematic expression, not of the real, but rather of the hyperreal. The rise of digital morphing techniques, for example, along with other forms of electronic manipulation of images in film, and the certain development in the very near future of an interactive digital cinema in which endings can be changed, and troublesome scenes transformed instantaneously

in Memory and popular film
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
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Memory and popular film

example, has discussed the tensions between official histories and their contestation in ‘popular’ or unofficial memory, analysing the bearing of historical and memorial knowledge on formations of identity and operations of power. In a discussion of ‘film and popular memory’ in French cinema of the 1970s (specifically, a number of films dealing with the French Resistance), Foucault suggests that memory is ‘a very important

in Memory and popular film
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single ‘video work’ all by itself . . . there are no video masterpieces, there can never be a video canon, even an auteur theory of video . . . The discussion, the indispensable preliminary selection and isolation, of a single ‘text’ then automatically transforms it back into a ‘work’, turns the anonymous videomaker back into a named artist or

in Memory and popular film
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History, legend and memory in John Sayles’ Lone Star

’s badge buried in the desert. Their conversation jokily mentions the ‘Coronado Expedition’, locating the significance of colonial history to this film and suggesting its continued relevance to the present day lives of this border community; ‘This country’s seen a good few disagreements over the years’, we are told. Digging for relics of the past, to transform into art-objects of the future (the bullets

in Memory and popular film
The Spanish Gardener and its analogues

’s boxing gloves) and a complicated means of escaping from the pit, the profession of the male line. If falconry in Kes functions as inspiration, enriching Billy’s constricted existence with new meaning rather than replacing it altogether, it does so unsentimentally and believably. His harsh family life (absent father, ineffectual mother and brutal half-brother) is not suddenly transformed into ‘The

in British cinema of the 1950s
From Vietnam to the war in the Persian Gulf

in what became the Gulf War. My argument is that Hollywood produced a particular ‘regime of truth’ 2 about America’s war in Vietnam and that this body of ‘knowledge’ was ‘articulated’ 3 by George Bush as an enabling ‘memory’ in the build up to the Gulf War. Vietnam revisionism and the Gulf War In the weeks leading up to the Gulf War, Newsweek featured a cover showing a photograph of a

in Memory and popular film
A reply from Saturday Night to Mr. Dienstag

κωμῳδοποιὸν εἶναι. But the substance of it was, he said, that Socrates was driving them to the admission that the same man could have the knowledge required for writing comedy and tragedy – that the fully skilled tragedian could be a comedian as well. Plato, Symposium

in Cinema, democracy and perfectionism
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The early British films of Joseph Losey

with his own emotions, the consequence being that his research is contaminated by his lack of self-knowledge. The noticeable self-consciousness of the style, then, operates in an almost Brechtian way to pull you out of narrative involvement into a more contemplative relation to the film. As with Time Without Pity , Blind Date and Eve, the plot is the weakest, or the least important, part of the

in British cinema of the 1950s