DOCSLIB.ORG

Desiring Postcolonial Britain: Genre Fiction Since the Satanic Verses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Desiring Postcolonial Britain: Genre Fiction Since the Satanic Verses Desiring Postcolonial Britain: Genre Fiction sinceThe Satanic Verses Sarah Post, BA (Hons), MA Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2012 This thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere ProQuest Number: 11003747 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003747 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 1 Acknowledgements The completion of this project would not have been possible without the academic, financial and emotional support of a great number of people. I would like to thank all those that offered advice on early drafts of my work at conferences and through discussions in the department. Special thanks go to the Contemporary Gothic reading group at Lancaster for engendering lively debate that fed into my understanding of what the Gothic can do today. Equally, I could not have finished the project without financial support, for which I am grateful to the Lancaster English Department for a fee waiver and to Dr. Catherine Spooner and Professor Lynne Pearce for providing me with preferable employment when balancing exhausting jobs with my studies became unviable. I owe the deepest thanks to my supervisor, Dr. Lindsey Moore, for her support and enthusiasm since the project’s inception and throughout. Her patience and encouragement through my own periods of doubt have led to the completion of a project that may have otherwise been abandoned long ago. 1 am also incredibly grateful for her meticulous proofreading and invaluable advice at every stage of the project. Most importantly, I dedicate this work to Johnathan llott for his continued love and emotional support (and for assuring me that I was an idiot when I threatened to give up). I have benefitted so much from your pride and faith in me. I hope that the completion of this project is worth the spells of insanity that you have had to put up with (don’t worry: I won’t make you read it!). ii Sarah Post, BA (Hons), MA Desiring Postcolonial Britain: Genre Fiction sinceThe Satanic Verses Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2012 Abstract This thesis argues that the disciplines of genre studies and postcolonial criticism can usefully be brought to bear upon one other in order to interrogate constructions of Britishness in contemporary fiction. I understand Britain as a postcolonial country and attempt to rectify the frequent sidelining of genre fiction from criticism of postcolonial literature by opening up discussion of a wider range of postcolonial authors and topics. Contrary to popular understandings of genre that tend to operate around rules and conventions, I define genres according to the sets of desires that they engage with, such as fear, lust or consumerism. The overarching questions that I ask of the texts and films regard the negotiation, repression and expression of desires related to hopes and fears about postcolonial Britain and variously expressed through the genres of Bildungsroman, Gothic, comedy, national romance and subcultural urban fiction. This thesis uniquely combines postcolonial theory, genre criticism, psychoanalytic and economic constructions of desire, and contemporary literature, in order to analyse contemporary constructions of Britishness. Each chapter begins with analysis of Salman Rushdie’sThe Satanic Verses (1988), the publication of which created a violent collision between ideas of Britishness, immigration, politics and fiction. By consideringThe Satanic Verses in relation to genres in which it participates - allowing the text to speak as a work of fiction, rather than polemic tract appropriated to suit the agendas of rival ideologies - I shift the parameters of critique and breathe new life into debates surrounding the text. This has the added benefit of illustrating how even the most prestigious postcolonial novels participate in genres, and in doing so concurrently raises the profile of postcolonial genre studies. 1 Table of Contents Introduction - 2 - Chapter One ‘Solid, unchanging, sempiternal, instead of the creature of cracks and absences’: (Em)Bracing Hybridity in the Bildungsroman - 29 - Chapter Two Gothic England: Another Time, Another Space, Another Other - 88- Chapter Three ‘Pitting levity against gravity’: Laughing through the Tears/Laughing through the Fears in Postcolonial British Comedy - 136- Chapter Four ‘And we pursued English roses as we pursued England’: Consuming Desires from National Romance to Subcultural Urban Fiction - 201 - Conclusion - 265 - Works Cited - 269 - 2 Introduction Desiring Postcolonial Britain: Genre Fiction sinceThe Satanic Verses ‘The trouble with the Engenglish is that their hiss hiss history happened overseas so they dodo don’t know what it means. w This thesis argues that the disciplines of genre studies and postcolonial criticism can usefully be brought to bear upon one other in order to interrogate constructions of Britishness in contemporary fiction. I understand Britain as a postcolonial country and attempt to rectify the frequent sidelining of genre fiction from criticism of postcolonial literature by opening up discussion of a wider range of postcolonial authors and topics. Contrary to popular understandings of genre that tend to operate around rules and conventions, I define genres according to the sets of desires that they engage with, such as fear, lust or consumerism. The overarching questions that I ask of my selected texts regard the negotiation, repression and expression of desires related to hopes and fears about postcolonial Britain and variously expressed through the genres of Bildungsroman, Gothic, comedy, national romance and subcultural urban fiction. This thesis uniquely combines postcolonial theory, genre criticism, psychoanalytic and economic constructions of desire, and contemporary literature, in order to analyse contemporary constructions of Britishness. The remainder of this introduction outlines the key theoretical and conceptual paradigms that I bring to bear on my subsequent analysis of literature and film. 1 Salman Rushdie,The Satanic Verses (London: Vintage, 2006), p. 343. 3 Narrating the Nation This thesis works on the premise that in a culturally diverse country, Britain needs something that transcends material, ethnic, economic and religious disparities in order to create a sense of national identity: it requires new modes of narration. The links between nation and narration have been thoroughly interrogated, most notably by Benedict Anderson, who figures nations as ‘imagined political communities]’ and by Homi Bhabha, who claims that ‘[njations, like narratives, lose their origins in the myths of time and only fully realize their horizons in the mind’s eye.’2 Bhabha expands on this, stating: The people are not simply historical events or parts of a patriotic body politic. They are also a complex rhetorical strategy of social reference where the claim to be representative provokes a crisis within the process of signification and discursive address.3 As such, peoples are fictional as well as factual entities, understood and understanding themselves variously through differing ideologies and frames of reference, rather than existing independently of forms of signification. Already, one notes implicit similarities between understandings of nation and storytelling; the nation is understood in terms of its constructed nature, its imaginative qualities and its mode of expression. It is important to note that narration is not the story but the way the story is told, and that there are important psychological and political implications to take into account when considering narration, so as to ensure that it is not conceived of as a neutral act. Peter Brooks states, ‘[w]e can [...] conceive of the reading of plot as a 2 Benedict Anderson,Imagined Communities (London: Verso, 1991), p. 4; Homi K. Bhabha, ‘Introduction: narrating the nation’, Nationin and Narration, ed. by Homi K. Bhabha (London: Routledge, 1990), pp. 1-7 (p. 1). 3 Homi K. Bhabha, ‘DissemiNation: time, narrative, and the margins of the modern nation’, inNation and Narration, ed. by Homi K. Bhabha (London: Routledge, 1990), pp. 291-322 (p. 297). 4 form of desire [...]. Narratives both tell of desire - typically present some story of desire - and arouse and make use of desire as dynamic of signification.’4 Furthermore, Angela Carter highlights the political implications of narration, suggesting that ‘narrative is an argument stated in fictional terms.’5 It now becomes more apparent why the way that nations are imagined and mediated through fiction is important for an understanding of Britishness. The way that the national story is told leaves room for argument or political agenda, coercion or persuasion, whilst comprising power imbalances regarding who has the knowledge and who is able to narrate the stories. This is where the boundaries between nation and nationalism
Load more

Recommended publications
  • TASK FORCE the Donald C
    HENRY M. JACKSON SCHOOL OF INTERNATIONAL STUDIES UNIVERSITY of WASHINGTON TASK FORCE The Donald C. Hellmann Task Force Program Preventing ISIL’S Rebirth Through a Greater Understanding of Radicalization: A Case Study of ISIL Foreign Fighters 2020 Preventing ISIL’s Rebirth Through A Greater Understanding of Radicalization: A Case Study of ISIL Foreign Fighters Evaluator Corinne Graff, Ph.D. Senior Advisor, Conflict Prevention and Fragility United States Institute of Peace (USIP) Faculty Advisor Denis Bašić, Ph.D. ~ Coordinator Orla Casey Editor Audrey Conrad Authors Orla Casey Audrey Conrad Devon Fleming Olympia Hunt Manisha Jha Fenyun Li Hannah Reilly Haley Rogers Aliye Volkan Jaya Wegner Our Task Force would like to express our gratitude towards Professor Denis Bašić, without whom this Task Force would not have been possible. Thank you for your guidance, expertise, and abundance of knowledge. We appreciate you always pushing us further towards a deeper understanding. TABLE OF CONTENTS Executive Summary……………………………………………………………………………….2 The Rise of ISIL and Foreign Fighters…………………………………………………………....3 Section I: Middle Eastern and North African ISIL Recruitment Saudi Arabia…………………………………………………………...………………………….7 Tunisia………………………………………………………………………………………...…13 Morocco………………………………………………………………………………………….15 Libya……………………………………………………………………………………………..17 Egypt……………………………………………………………………………………………..21 Jordan……………………………………………………………………………………………25 Lebanon………………………………………………………………………………………….30 Turkey……………………………………………………………………………………………34 Section II: South
    [Show full text]
  • Corporate Resources Overview & Scrutiny Panel
    Corporate Resources Overview & Scrutiny Panel Date: Tuesday 19 October 2010 Time: 10.00am Venue: Edwards Room, County Hall, Norwich Persons attending the meeting are requested to turn off mobile phones. Membership Mr M Brindle Mrs D Clarke (Liberal Democrat Spokesperson) Mr S Clancy Mr B Collins Mr J Dobson Mr R Hanton Mr C Jordan (Chairman) Mr M Langwade Ms J Mickleburgh Mr J Mooney Mr A Proctor (Vice Chairman) Mr R Smith Dr M Strong Mrs J Toms (Green Spokesperson) Mr A White Mrs C Walker (Labour Spokesperson) Mr T Williams Cabinet Members (Non-Voting) Mr B Borrett Efficiency Mr I Mackie Finance and Performance Mr J Carswell Culture Customer Services and Communications Deputy Cabinet Members (Non-Voting) Mr J Herbert Corporate Affairs For further details and general enquiries about this Agenda please contact: Catherine Wilkinson on 01603 223230 or email [email protected] Corporate Resources Overview & Scrutiny Panel – 19 October 2010 A g e n d a 1. To receive apologies and details of any substitute members attending. 2. Minutes To confirm the minutes of the meeting held on Wednesday 15 September 2010. (Page 1) 3. Members to Declare any Interests Please indicate whether the interest is a personal one only or one which is prejudicial. A declaration of a personal interest should indicate the nature of the interest and the agenda item to which it relates. In the case of a personal interest, the member may speak and vote on the matter. Please note that if you are exempt from declaring a personal interest because it arises solely from your position on a body to which you were nominated by the County Council or a body exercising functions of a public nature (e.g.
    [Show full text]
  • The Ruling Concerning Mawlid An-Nabawi
    the ruling concerning Mawlidan-nabawi (celebration of the Prophet’sr birthday) by Shaikh Saleh ibn Fawzan al-Fawzan with additional quotes from 'Hukm al-Ihtifal bil-Mawlid war-Radd ala man ajaaz' by Shaikh Muhammad ibn Ibraheem Aal-Shaikh A Dialogue between Shaikh al-Albanee and a proponent of Mawlid translated by Shawana A. Aziz Published by Quran Sunnah Educational Programs www.qsep.com Index Introduction............................................................................................................01 The celebration of Mawlid an-Nabawi is prohibited and rejected due to several reasons.............................................................................................................0 7 1. The celebration of Mawlid is neither from the Sunnah of Allah's Messengerr nor his Caliphs.......................................................................... 08 2. Celebrating Mawlid (birthday) of Allah's Messengerr is an imitation of the Christians............................................................................... 09 3. Mawlid is also a means of exaggeration in the honor of Allah's Messengerr ...................................................................................................... 10 4. Celebrating the Bidah of Mawlid opens the door to other innovations........................................................................................................... 11 Clarifying Doubts Doubt 1: Celebration of Mawlid is honoring the Prophetr .....................14 Doubt 2: Mawlid is celebrated by a
    [Show full text]
  • 2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
    Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p.
    [Show full text]
  • Jihadism in Africa Local Causes, Regional Expansion, International Alliances
    SWP Research Paper Stiftung Wissenschaft und Politik German Institute for International and Security Affairs Guido Steinberg and Annette Weber (Eds.) Jihadism in Africa Local Causes, Regional Expansion, International Alliances RP 5 June 2015 Berlin All rights reserved. © Stiftung Wissenschaft und Politik, 2015 SWP Research Papers are peer reviewed by senior researchers and the execu- tive board of the Institute. They express exclusively the personal views of the authors. SWP Stiftung Wissenschaft und Politik German Institute for International and Security Affairs Ludwigkirchplatz 3­4 10719 Berlin Germany Phone +49 30 880 07-0 Fax +49 30 880 07-100 www.swp-berlin.org [email protected] ISSN 1863-1053 Translation by Meredith Dale (Updated English version of SWP-Studie 7/2015) Table of Contents 5 Problems and Recommendations 7 Jihadism in Africa: An Introduction Guido Steinberg and Annette Weber 13 Al-Shabaab: Youth without God Annette Weber 31 Libya: A Jihadist Growth Market Wolfram Lacher 51 Going “Glocal”: Jihadism in Algeria and Tunisia Isabelle Werenfels 69 Spreading Local Roots: AQIM and Its Offshoots in the Sahara Wolfram Lacher and Guido Steinberg 85 Boko Haram: Threat to Nigeria and Its Northern Neighbours Moritz Hütte, Guido Steinberg and Annette Weber 99 Conclusions and Recommendations Guido Steinberg and Annette Weber 103 Appendix 103 Abbreviations 104 The Authors Problems and Recommendations Jihadism in Africa: Local Causes, Regional Expansion, International Alliances The transnational terrorism of the twenty-first century feeds on local and regional conflicts, without which most terrorist groups would never have appeared in the first place. That is the case in Afghanistan and Pakistan, Syria and Iraq, as well as in North and West Africa and the Horn of Africa.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Weather Ex Machina
    UNIVERSITY OF CALIFORNIA Los Angeles Weather ex Machina: Climatic Determinism and the Fiction of Causality in the Twentieth-Century Novel A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Sydney Miller 2018 © Copyright by Sydney Miller 2018 ABSTRACT OF THE DISSERTATION Weather ex Machina: Climatic Determinism and the Fiction of Causality in the Twentieth-Century Novel by Sydney Miller Doctor of Philosophy in English University of California, Los Angeles, 2018 Professor Michael A. North, Chair Weather ex Machina charts a pattern of the weather as a plot device in the twentieth-century novel, where its interventions have been overlooked and understudied. According to the prevailing critical narrative of the topic, the ubiquitous and overwrought weather that characterizes the notoriously dark and stormy novels of the nineteenth century all but disappears in those of the twentieth, its determinative force in fiction diminishing with the advancement of a science that secularized the skies. This dissertation pushes against that narrative, arguing that is precisely because modern meteorology seemingly stripped the weather – so long assumed to be divinely sourced – of its mythological associations that the trope becomes available for co-opting as the makeshift deus ex machina of the modern novel: the believable contrivance that, in functioning deterministically while appearing aleatory, replaces the providentialism of the nineteenth-century novel and resolves the crisis of causality in the twentieth-century plot. For E.M. Forster, whose works are marked by an anxiety about formlessness and a belabored adherence to causal chains, the weather becomes a divine scapegoat, its inculpation imposing a predictable but passably accidental order onto his plots.
    [Show full text]
  • Norwich Film Festival Is Accredited by Both the British Independent Film Awards and the British Academy of Film and Television Arts
    NORWICH FILMFESTIVAL #NFF2019 6-17 NOVEMBER 2019 Supported by THANK YOU TO ALL OUR SUPPORTERS SPONSORS OF BEST SPONSORS OF BEST SPONSORS OF BEST DOCUMENTARY FILM EAST ANGLIAN FILM SHORT FILM THE TIMOTHY COLMAN TRUST NORWICH FILM FESTIVAL IS ACCREDITED BY BOTH THE BRITISH INDEPENDENT FILM AWARDS AND THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS BIFA BAFTA QUALIFYING FESTIVAL QUALIFYING FESTIVAL BRITISH SHORT FILM BRITISH SHORT FILM CONTENTS WELCOME NOTES 4 OUR TEAM 5 FESTIVAL MAP 6 SUMMARY OF EVENTS 8 LAUNCH NIGHT 12 DAY ONE 13 DAY TWO 14 DAY THREE 15 DAY FOUR 18 DAY FIVE 21 DAY SIX 22 DAY SEVEN 24 DAY EIGHT 26 DAY NINE 30 DAY TEN 35 OFFICIAL SELECTION 38 OUR JUDGES 40 NOMINATED FILMS 42 FESTIVAL TIMETABLE 46 norwichfilmfestival.co.uk 3 WE’RE BACK and we’re incredibly excited to bring you the ninth Norwich Film Festival! We’ve had a record number of submissions this year, and we’ve spent months carefully choosing our Official Selection to present to you this month. We have 111 great short films, as well as 10 brilliant feature films, and a huge selection of industry sessions and talks. We’re extremely grateful for the continued support of our sponsors, partners, and friends, and we wouldn’t be where we are today without your help. We’re also proud of the ongoing commitment from our team of volunteers and the staff of all the venues hosting us across the city. The festival is what it is because of them, but also because of you, our audience.
    [Show full text]
  • Attack on Nasheed and the Rising Tide of Radicalisation in the Maldives
    MP-IDSA Issue Brief Attack on Nasheed and the Rising Tide of Radicalisation in the Maldives Adil Rasheed May 20, 2021 Summary The attack on former Maldivian president and current parliamentary speaker Mohammad Nasheed on May 6, 2021 has led to speculation that the assassination bid was planned either by Islamist extremists or his political opponents. The Brief examines key aspects of the country's tenuous social and political fabric and situates the problem of radicalisation in a historical as well as the contemporary context. In closing, it proposes a few measures India may consider taking to help Maldives strengthen its political stability and security. ATTACK ON NASHEED AND THE RISING TIDE OF RADICALISATION IN THE MALDIVES At 8:39 pm on May 6, 2021, just before the COVID night-time curfew was to come into effect in Male, an IED blast struck the former President of Maldives and current Speaker of the Majlis (parliament), Mohammad Nasheed. The explosion also injured four other people accompanying him, including a British national. Reports noted that the home-made explosive device, packed with ball bearings to cause maximum damage, was planted on a motorbike parked near Nasheed's car.1 In the initial hours after the attack, the 53-year-old Nasheed was in a ‘critical condition’ and underwent multiple surgeries to his head, chest, abdomen and limbs.2 Thankfully, Anni, as he is affectionately called, recovered quickly and has now been flown to Germany for further treatment. In a tweet, External Affairs Minister S. Jaishankar wished him a speedy recovery and said that Nasheed can “never be intimidated.”3 Political Rivals, ISIS, or Islamists? The Maldivian police termed the attack a “deliberate act of terror”, although no terrorist group has so far taken responsibility.
    [Show full text]
  • Music Videos in the British Screen Industries and Screen Heritage: from Innovation to Curation
    Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 154–159 DOI: https://doi.org/10.33178/alpha.19.13 Music Videos in the British Screen Industries and Screen Heritage: From Innovation to Curation Introduction Emily Caston In December 2019, Rolling Stone magazine ran a piece on the best videos of the year which began by asking, “What even counts as a music video now?” (Shaffer). Vevo, Tiktok and Instagram TV have blurred the lines. Videos can be an hour long. They can be events on YouTube Premiere. They can be virtual reality. The idea that the world of the earliest creators of pop promos was simple in comparison to today subtends this dossier. In 2015, I was awarded an Arts and Humanities Research Council (AHRC) grant to investigate the history of music videos in Britain since 1966.1 At the end of the grant, I curated a collection of the most significant of those videos into a limited-edition box set (Power). Selecting them involved very detailed discussions with our interviewees and industry consultants about just what a “music video”—known as a “promo” until the mid 1980s—is. The term “music video” arose in the 1980s. It was used in record labels to describe visual products mastered on physical videotapes for television broadcast. In fact, almost all of those products were shot on celluloid (16mm or 35mm) until digital technologies allowed HD to become the norm in the 2000s. For the purposes of this dossier, I define music videos and pop promos as a type of musical short film for mass audiences commissioned and released by record labels (usually) at the same time as the release of a synchronised audio “single”; the shorts comprise a copyrighted synchronised picture and audio track in which a percentage of the royalties accrue to the recording artist and/or record label.
    [Show full text]
  • Bfi Southbank Events Listings for June 2016 In
    BFI SOUTHBANK EVENTS LISTINGS FOR JUNE 2016 IN CONVERSATIONS AND ONE-OFF EVENTS Cristi Puiu in Conversation One of the most cinematically adventurous filmmakers to have emerged this century, Cristi Puiu is rightly regarded as a major figure in both Romanian and international cinema, expert at turning material of philosophical, socio-political and ethical import into suspenseful, witty or emotionally affecting drama. We’re delighted to welcome him to the BFI Southbank stage to discuss his work and career with BFI Senior Film Programmer Geoff Andrew. This event is part of the month-long season on The New Romanian Cinema, taking place throughout June. MON 13 JUN 20:30 NFT3 Romania’s New Cinema – How the Filmmakers See It Just how healthy is Romania’s film industry? Is the ‘new wave’ a real movement or simply a phenomenon? What was it that that enabled Romanian filmmaking to flourish so well in recent years? In this panel discussion hosted by Geoff Andrew, directors Anca Damian, Tudor Giurgiu and Radu Muntean will try to answer these and other questions of contemporary relevance. Tickets £6.50 TUE 28 JUN 18:10 NFT3 PREVIEWS Catch the latest film and TV before release African Odysseys Preview: Race France-Germany-Canada 2016. Dir Stephen Hopkins. With Stephan James, Jeremy Irons, Carice van Houten, Jason Sudeikis. 134min. Cert tbc This remarkable story – brought to the big screen for the first time – follows the struggles of Jesse Owens, the grandson of a US-enslaved African, who went on to participate in the 1936 Olympics held in Nazi Germany.
    [Show full text]
  • An Idiothole's Guide to the Show
    AN ID I OTHOLE ’S GU I DE TO THE SHOW ABOUT THE SHOW AN INTRODUCT I ON The Adam and Joe Show is a BBC6 Music radio slot on Saturday morning that starts at an un-godly 9:00am and ends at a much more reasonable 12:00pm. To date I must confess I have only ever once dragged myself out of bed to listen to the show. It was hard, but worth it if only for the communal idea of us all being...um...awake at the same time. (Not sure if I could manage it again. My partner grumbled about my early morning homage the whole way through. “Adam & Joe! Stupid Adam and Joe! I’m going to call them and tell them they are ruining my life!“ said with no small level of venom.) The show is hosted by Adam Buxton, a comedian, actor and music buff & Joseph Murray Cornish a writer, occasional actor and movie fanatic. Once upon a time they used to be on TV hosting their home-made pop-culture laden show on Channel 4 which for some reason Channel 4 ended after four seasons (what fools!). Luckily all the shows have been archived online and are free to watch at leisure. (Go to the Useful Links page for the web link. The show features music broken up by listener interactive elements and a lot of chit-chat bewteen the duo (who have known each other since they were in school) that you can giggle at while on the way to work, at work or even as suggested by A&J, on the loo.
    [Show full text]
  • FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
    FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews.
    [Show full text]