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This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.

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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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Memory and popular film

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. While, in representational terms, the past has been figured in variations of the history film, the costume drama and the heritage picture from early cinema to the present, rituals of remembrance have come to surround the culture of film. Whether in the

in Memory and popular film
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which people must relate can be communicated through signs, whereas a considerably greater part of our understanding of the circumstances and restrictions of the community happens through informal talk, for instance in the form of gossip. The media scandal as a phenomenon is good at revealing these often unspoken and emotionally regulated cultural agreements. It makes the boundaries of cultural life visible, allowing us to examine those boundaries by talking about them and exploring them emotionally together. The precise location of the boundaries distinguishing the

in Exposed
Critical and historical contexts of the Lord Mayor’s Show

1 ‘From low-obscure Beginnings raysde to Fame’: critical and historical contexts of the Lord Mayor’s Show The London Lord Mayors’ Shows were high-profile and very lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. Staged annually in the course of one day in late October to celebrate the inauguration of the new Lord Mayor, the Show – or Triumph, as it was often called – was usually composed of an eclectic mixture of extravagantly staged emblematic tableaux, music, dance and speeches, together with

in Pageantry and power
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A cultural history of the early modern Lord Mayor’s Show, 1585-1639

The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.

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In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .

in Austerity baby
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Pleasantville and the textuality of media memory

negotiate, and rethink, propositions of postmodern amnesia. Whereas theorists of postmodernism such as Jameson have diagnosed a profound waning of historicity in cultural life, linked to what he calls the ‘spatial logic of the simulacrum’, critics such as Andreas Huyssen, Vivian Sobchack and Jim Collins have begun to look more closely at the bearing of postmodern representation on contemporary memory

in Memory and popular film
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Conclusion he vast majority of ordinary people in Britain between the wars paid far more attention to sport, and the doings of ‘society’, than to the interests of the country’s intellectual elite. Racing was one of Britain’s leading national sports, and the media gave it more prominence than football or cricket, its main competitors. Involvement in or opposition to it were integral factors in British cultural life. Previous pages have explored its place in detail, and discussed social and economic changes in racing between the wars, power and control in racing

in Horseracing and the British 1919–39
Perspectives on civilisation in Latin America

were fostered in multiple dialogues with foreign currents in philosophy, literature, politics and art and with Latin America’s own multi-​civilisational past. Modernists made careful study of foreign trends. However, they also routinely tempered engagement of international currents with the struggle to find a place for them in cultural life. Writers, poets, philosophers and activists often turned to traditions they saw as their own when looking to place themselves in the world. They were at their most creative when unapologetically synthesising southern experiences

in Debating civilisations