Open Access (free)
Editor: Paul Grainge

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.

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Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

make the best of that. 30 Besides the refinement of the notion of cinematic authorship, the apology for American cinema 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

in British cinema of the 1950s
Open Access (free)
Memory and popular film
Paul Grainge

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 American cinema. The four chapters in Part I

in Memory and popular film
Isabel Quigly

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 American cinema

in British cinema of the 1950s
Open Access (free)
Ian Scott and Henry Thompson

(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 Notes 241 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 American Cinema (Durham, NC and London: Duke University Press, 1998), p. 42. 5 James Riordan, Stone: The Controversies, Excesses, and Exploits of a

in The cinema of Oliver Stone
Ian Mackillop and Neil Sinyard

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 American cinema 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

in British cinema of the 1950s
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The early British films of Joseph Losey
Neil Sinyard

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

in British cinema of the 1950s
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The art of performance and her work in film
Katharine Cockin

–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, pp. 137–59. Ellen Terry ­261 Mayer, David (1996), ‘Parlour and Platform Melodrama’, in Michael Hays and Anastasia

in Stage women, 1900–50
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Jenny Edkins

: 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 ([2010] 2011).’ Studies in Spanish & Latin American Cinemas 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. 47 Ruiz

in Change and the politics of certainty
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Religious influences on the depictions of science in mainstream movies
David A. Kirby and Amy C. Chambers

-web-only/interstellar.html. Masters, K. (2014). Rough seas on Noah: Darren Aronofsky opens up on the biblical battle to woo Christians (and everyone else). Hollywood Reporter, Playing God 299 21 February. Retrieved 20 March 2016 from: news/rough-seas-noah-darren-aronofsky-679315. 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 American Cinema (pp. 90–108). Maidenhead: McGraw-Hill. Newport, F. (2009). On Darwin

in Science and the politics of openness