Open Access (free)

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.

Open Access (free)
Memory and popular film
Paul Grainge

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 popular film, intervening in growing debates about the status and function of

in Memory and popular film
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New retro movies in 1990s Hollywood cinema
Philip Drake

, memorialised past is increasingly dependent upon, and recycled within, audiovisual representations such as those found in popular film. 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 Memory and popular film
Screening Victoria
Steven Fielding

, 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 popular films 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

in The British monarchy on screen
Mike Huggins

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 popular films 1929–1939: the

in Horseracing and the British 1919–39
Open Access (free)
Joshua Foa Dienstag

. 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 popular film 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

in Cinema, democracy and perfectionism
Open Access (free)
Ian Scott
Henry Thompson

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. com/​technology/​2013/​jun/​07/​uk-​gathering-​secret-​intelligence-​nsa-​ prism (accessed 1 March 2016). 2 Helen Stoddart, ‘Auteurism and Film Authorship Theory’ in Joanne Hollows and Mark Jancovich (eds) Approaches to Popular Film

in The cinema of Oliver Stone
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The Algerian war and the ‘emancipation’ of Muslim women, 1954–62

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.

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Woman in a Dressing Gown
Melanie Williams

’s retrospective analysis of the most popular films 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

in British cinema of the 1950s
Open Access (free)
Kinneret Lahad

-seven bridesmaid’s dresses in her closet already, hoping to exchange the bridesmaid dress for a bride’s. Another popular film 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

in A table for one