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.
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 popularhistory and
the constitution of memory narratives in and around the production and
consumption of American cinema. The four chapters in Part I
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
local histories which came to form the basis of land tenure,
assessment and revenue collection. Indian civilization itself
was explored in historical perspective, usually within a
teleological framework that validated British rule. And British
rule was the subject of popularhistories of specific events
such as the Black Hole of Calcutta. Although the most complex
The ethics and politics of memory in an age of mass culture
most are, in fact, fascinated with the
past. 1 Yet despite the
multiple forms of ‘popularhistory-making’ their survey
uncovers, Rosenzweig, in particular, remains concerned that the way many
Americans remember the past has the effect of atomising them, rather
than building collective solidarities. Because many of the Americans
surveyed emphasise first-hand experience and the familial, they tend to
1921 and 1925’, History Workshop Journal 73
(Spring 2012 ): 37–65. Two popularhistories have also been useful to me in conceptualizing this
project: Theo Aronson, Royal Ambassadors: British Royalties in
Southern Africa, 1860–1947 (Cape Town, 1975 ); John Fabb, Royal Tours of the British Empire,
1860–1927 (London, 1989 ). Neil
Parsons has skilfully explored the
Lillian Leitzel’s celebrity, agency and her performed femininity
Lillian Leitzel’s celebrity, agency and her performed femininity
Circus was one of the largest mass live entertainments of the early twentieth century and was an industry that secured its popularity through a
number of female stars. These women’s careers were not only established
by the highest-profile circuses but also contributed to their success.
Although circus has been the focus of numerous memoirs or popularhistories, few recent layered historical analyses of this complex entertainment form exist. As such, the female performers
introduction, I am referring to portions of longer incarnations
of Thomson’s and Boxall’s chapters.
15 The Onion, 42:17 (26 April 2006).
16 On how the link between Beckett and nothing, and, more specifically,
between Beckett and nihilism, has been placed in the realm of ‘public
consciousness’ as opposed to that of criticism since the time of Esslin’s
early writings, see Shane Weller, A Taste for the Negative, p. 6. For a
popularhistory of nothing, see John D. Barrow, The Book of Nothing
(London: Jonathan Cape, 2000). See also Hélène Cixous’s Le Voisin
de zéro: Sam Beckett
Interactional strategies in late-nineteenth-century Classical archaeology:
the case of Adolf Furtwängler
Ulf R. Hansson
mostly well received. The creative urge into
which he seems to have channelled much of these perceived negative
experiences and resentment resulted in a series of highly focused projects
and widely influential books, several of which were later canonised as
milestone publications (e.g. Furtwängler, 1890, 1893, 1900).
The popularhistories of the discipline mention Furtwängler only in
passing, if at all. Still, in many respects he perfectly embodies the eccentric, exceptionally gifted, restless and feverishly working but socially
handicapped and temperamental ‘Great Man
healthy inherited DNA caused by factors such as smoking, exposure to radiation, diet
or aging. Within a popularhistory of science, the collective scientific
endeavour that King and a number of others were involved in has also
been narrated as a race with a complex social context of competition and
collaboration reaching a denouement in a published paper and accepted
results. The tendency in the historical record is to narrate at molar scale
while the scientific record concentrates on the molecular.
In Callon’s terms, the displacement that happens here occurs through