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History, legend and memory in John Sayles’ Lone Star
Neil Campbell

through the community’s ‘stratigraphic landscape’, that ‘conceives historical understanding as an after-life of that which is understood, whose pulse can still be felt in the present’. 4 Through these acts of retrieval, Sayles’ film can be seen as in dialogue with the ‘culture wars’ debates of the 1980s–90s in which issues of identity politics, multiculturalism and the

in Memory and popular film
Open Access (free)
Yale’s Chronicles of America
Roberta E. Pearson

, the museums and so forth). Simultaneously, a flood of immigrants from Asia and the global south sought refuge in the world’s remaining super-power. Social and cultural elites (educators, state officials, public institutions and the like) reacted to identity politics and immigration with approbation or alarm: some urged a full embrace of multiculturalism while others worried about the fragmentation ensuing

in Memory and popular film
Open Access (free)
The ethics and politics of memory in an age of mass culture
Alison Landsberg

person’s memory – is figured as a form of addiction. The film is set in Los Angeles, on New Year’s Eve 1999. The Los Angeles of the film is a chaotic, multicultural world of violence, epitomised by the assassination of Jeriko One, an important African-American rapper and a vocal opponent of white oppression. Rather than confront this bleak reality, people buy ‘wire trips’, which are memories that can be

in Memory and popular film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

, ‘the sixties’ emblematised the lapsarian moment from which a diagnosis of contemporary malaise took its form and force. In right-wing rhetoric, symptoms linked to the 1960s could include anything from the breakdown of the family and the rise in violent crime, to the emergence of multicultural separatism and the crisis of university education. The liberal-left response, vociferously argued by the so

in Memory and popular film
Writing on the body
Dana Mills

) (Kolb 2011: xiv). Randy Martin’s Performance as Political Act is exemplary in its problematisation of the body in performance. His book Critical Moves has been groundbreaking in its approach to politics within dance studies. I discuss my conceptual relationship to his work under the next axis but here I note that his case studies are all from the context of American dance, from the Judson Church to his own participation in dance performances, Last Supper in Uncle Tom’s Cabin/​The Promised Land by Bill T. Jones (1990), multiculturalism and race within the United States

in Dance and politics
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Films of re-enactment in the post-war period
Paul Henley

an awareness of the role of culture in accounting for what is specifically human about human beings. It was hoped that this would encourage students to adopt an attitude of tolerance towards ‘other cultures’ and that this, in turn, would make them better citizens not just of the multicultural USA, but also of the world as a whole. 6 The anthropological aspects of project were overseen by a committee chaired by Margaret Mead. Her belief that the moving image camera should be

in Beyond observation
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An allegory of imperial rapport
Deirdre Gilfedder

Britain. 27 Yet they also signal its declining relevance in an increasingly multicultural society with the narrow focus on the ‘Anglo’ white male dissipating in the films of the 1990s and beyond. Felicity Collins and Therese Davis demonstrate the rupture that the Mabo decision of 1992 (a High Court decision that allowed Indigenous Australians to claim their land rights) brought to Australian cinema, 28 introducing a

in The British monarchy on screen
Paul Henley

Face Values . This represented a somewhat different twist on the comparative format. The series was proposed to the BBC by a committee of the Royal Anthropological Institute (RAI), chaired by Sir Edmund Leach, though the idea appears to have first originated with Charles, Prince of Wales, who had recently taken over as the royal patron of the RAI and who had been taught by Leach when he was a student of anthropology at Cambridge in the mid-1960s. At a time when Britain was becoming an increasingly multicultural society through the effects of

in Beyond observation