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.
form of commercial reruns, generic recycling, critical retrospectives or
popular reminiscence, 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 volume uses memory as a specific framework for the study
of popularfilm, intervening in growing debates about the status and
memorialised past is increasingly dependent upon, and recycled within,
audiovisual representations such as those found in popularfilm. My aim
is to consider how 1990s Hollywood cinema has activated a selective,
revised sense of the past, and how memory approaches to film history are
able to analyse this. In particular, I will stress how popular cultural
memory is drawn upon as an aesthetic and commercial strategy of Hollywood
In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.
silent and static figure sitting on a throne.
George V’s death allowed Herbert Wilcox to produce the
first talking – and royally sanctioned – Victoria. 31 His Victoria the
Great (1937) was one of the most popularfilms in the year of its
release, with cinemagoers in proletarian Bolton declaring it their
favourite movie. 32 In response to such acclaim Wilcox rushed out
Sixty Glorious Years , a kind of
inches in 1938 in the USA than any other
news figure. See Laura Hillenbrand, Seabiscuit: three men and a racehorse (London:
Fourth Estate, 2002), p. xi.
Liverpool Echo, 22.3.1938.
1932/3 Royal Commission on Lotteries and Betting, para. 218.
Sporting Chronicle, Racing up-to-date: a complete record of flat racing (Manchester:
Sporting Chronicle, 1938), p. 172.
S. Theodore Felstead, Racing romance (London: Werner Laurie, 1949), pp. 79–80.
Hartlepool Daily Mail, 30.7.1936.
Reviewed in the Cleveland Standard, 5.8.1939.
Stephen C. Shafer, British popularfilms 1929–1939: the
. Although the immediate focus
of the essay is M. Cavell, the larger target is the general
Enlightenment position, revived today in more than one quarter
(e.g., William Connolly, Richard Rorty, Robert Pippin, Jacques
Rancière) that popularfilm can serve to instruct us in
democracy. Indeed, perhaps here is the place to re-emphasize that I
criticize Cavell not because I think he is the
several times: with Gorbachev, Khrushchev,
Roosevelt, and Kennedy. Hope is still there. Hope is a foundation
for action against this empire.11
1 Interview with Oliver Stone, Santa Monica, CA, 8 December 2011.
Nick Hopkins, ‘UK gathering secret intelligence via covert NSA
operation’, Guardian (7 June 2013). Available at www.theguardian.
prism (accessed 1 March 2016).
2 Helen Stoddart, ‘Auteurism and Film Authorship Theory’ in Joanne
Hollows and Mark Jancovich (eds) Approaches to PopularFilm
dresses in her closet already, hoping to exchange the bridesmaid dress for a bride’s.
Another popularfilm underpinning this message is Paul Feig’s Bridesmaids (2011),
which garnered much media coverage in Israel. The film featured, as in many romantic
comedies of its kind, the unhappy life of the bride’s best friend, who is given the role
of the chief bridesmaid. As in 27 Dresses, the film focuses on the miserable life of the
bridesmaid while she tries to manage all the pre-wedding events and rituals. Both films
end on an optimistic tone, the heroines
retrospective analysis of the most popularfilms in Britain in 1957,
taking into account evidence from Picturegoer as well as Kine
Weekly , places the film in the top twelve. This seems all the more
remarkable for a ‘woman’s picture’ in a period of
rapidly declining female cinema attendance, suggesting an interesting
dynamic: women who are not getting out of the house very often do
go out to see a film