As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.
Sequence and the rise of auteurism in 1950s Britain
best of that. 30
Besides the refinement of the notion of cinematic
authorship, the apology for Americancinema was the most important
contribution to the discourse of criticism made by Sequence
(which in this regard places it with Cahiers du Cinéma ), a
reappraisal which was part of critical debate about cinema in the
1950s. 31 It is interesting
and its structures of belief, Memory and popular film is crucially
concerned with the questions of (American) cultural identity that derive
from this relationship.
The book is organised in three main sections. The first
section examines the relationship between official and popular history and
the constitution of memory narratives in and around the production and
consumption of Americancinema. The four chapters in Part I
comedies and familiar cliché. Influenced by kitchen-sink theatre
and the new aspects of life around it, it was turning out vigorous,
outspoken films that reflected the new atmosphere, whereas Italian
cinema had gone in an almost opposite direction, changing radically from
its postwar realism to the smoothest of modern fantasies, a kind of
mannerist style and a newer realism of luxury. The Americancinema
(Manchester: Manchester University Press, 1995), pp. 37–57.
3 Andrew Sarris, ‘Notes on the Auteur Theory in 1962’ in Gerald
Mast, Marshall Cohen and Leo Braudy (eds) Film Theory and
Criticism: Introductory Readings (Oxford: Oxford University Press,
4th edn, 1992), pp. 585–8.
C on c l u sio n
Th e ci nem a of Ol iver S to ne
4 Timothy Corrigan, ‘Auteurs and the New Hollywood’ in Jon Lewis
(ed), The New AmericanCinema (Durham, NC and London: Duke
University Press, 1998), p. 42.
5 James Riordan, Stone: The Controversies, Excesses, and Exploits of a
an allegory of his own situation (a hero trying to shake off his past and
make a new start) and injects an unashamed melodrama into the action that is
redolent of the radical Americancinema of the late 1940s. Patrick
McGoohan’s black-leather villainy in the film seems almost like a
conscious aping of Marlon Brando’s performance in The Wild One
(1954), which, for many of us at that time, would have been the nearest we
be a good
thing. As Gavin Lambert said at the time: ‘There is a splendour
about this film, which has one of the most absurdly extravagant plots on
record, and never flinches from it.’
As well as the energy of the visual style, what also
marks out Losey’s English films at this time is what one might
call his American ‘baggage’ – his background and early
experience in American
–1930, Exeter: Exeter University Press, pp. 42–64.
Higson, Andrew, and Richard Maltby, eds (1999), “Film Europe” and “Film
America”: Cinema, Commerce and Cultural Exchange 1920–1939, Exeter:
Exeter University Press.
Laurence, Dan H., ed. (1988), Bernard Shaw, Collected Letters 1926–1950, Vol. 4,
London: Max Reinhardt.
Matthews, Jodie (2010), ‘Back Where They Belong: Gypsies, Kidnapping and
Assimilation in Victorian Children’s Literature’, Romani Studies, 20.2,
Mayer, David (1996), ‘Parlour and Platform Melodrama’, in Michael Hays and
Oxford University Press, 1985.
43 Chris Darke, ‘Desert of the Disappeared’.
44 Martin-Jones, ‘Archival Landscapes and a Non-Anthropocentric
“Universe Memory”’, 707.
45 For a summary of this context, see Kaitlin M. Murphy, ‘Remembering
in Ruins: Touching, Seeing and Feeling the Past in Nostalgia De La
Luz/Nostalgia for the Light ( 2011).’ Studies in Spanish & Latin
AmericanCinemas 13, no. 3 (2016): 265–81.
46 Jacques Rancière, The Politics of Aesthetics: The Distribution of the
Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004: 63.
Religious influences on the depictions of science in mainstream movies
David A. Kirby and Amy C. Chambers
Masters, K. (2014). Rough seas on Noah: Darren Aronofsky opens up on the
biblical battle to woo Christians (and everyone else). Hollywood Reporter,
21 February. Retrieved 20 March 2016 from: www.hollywoodreporter.com/
NCOMP (1974). The Exorcist. Catholic Film Newsletter, 39(1), 2.
Neale, S. (2005). ‘The last good time we ever had?’: Revising the Hollywood
renaissance. In L. R. Williams and M. Hammond (eds), Contemporary
AmericanCinema (pp. 90–108). Maidenhead: McGraw-Hill.
Newport, F. (2009). On Darwin