Convention, Part I
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The Cut and Thrust: the Power of Political Debate in the Films of Ken Loach Author(S): Graham Fuller Source: Cinéaste , Fall 2015, Vol
The Cut and Thrust: The Power of Political Debate in the Films of Ken Loach Author(s): Graham Fuller Source: Cinéaste , Fall 2015, Vol. 40, No. 4 (Fall 2015), pp. 30-35 Published by: Cineaste Publishers, Inc. Stable URL: http://www.jstor.com/stable/26356460 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Cineaste Publishers, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Cinéaste This content downloaded from 95.183.184.51 on Fri, 07 Aug 2020 09:43:32 UTC All use subject to https://about.jstor.org/terms The Cut and Thrust The Power of Political Debate in the Films of Ken Loach by GrahamGraham Fuller Fuller resistance—most notably in The Wind That he was by the language of the communist a footnote to history: the story of the Shakes the Barley and the Allen-scripted Span books and leaflets a militant guest had sent Ken Loach's selfless attempt new offilm, the communist Jimmy's Hall, is ish Civil War film Land and Freedom (2005)— him. When the aristocratic pit owner John agitator James Gralton (1886-1945) and his has proved unavoidable. In contradistinction Pritchard (Edward Underdown) calls in fellow County Leitrim villagers to run a to the hyperbolic sequences of glorified may troops to harass the miners and their families dance hall and community center in the face hem and murder synonymous with Holly into submission, however, Joel and Ben find of anti-red paranoia and the puritanical wood cinema, talk is action in Loach's films. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
The Quiet Devolution: Thinking About the Roles of Police Middle Managers in Support of Community Policing
i q I+,9~ -+. [ OONmDm'~",AL I+ ~. ~ ~. c~- . ~o<o The Quiet Devolution: Thinking About The Roles of Police Middle Managers in Support of Community Policing by William A. Geller, Police Executive Research Forum Guy Swanger, San Diego Police Department July 1995 © 1995 by William A. Geller The research on this monograph was supported by National Institute of Justice grant number 92- IJCXK004 to Harvard University's Kennedy School of Government, Program in Criminal Justice Policy and Management, and a subcontract to the Police Executive Research Forum. NIJ's and Harvard's support are gratefully acknowledged. Points of view in this document are those of the authors and do not necessarily represent the official position or policies of the U.S. Department of Justice, Harvard University, or the membership of PERF. For inquiries about this monograph, please contact: William A. Geller Associate Director Police Executive Research Forum-Midwest Office 2116 Thomwood Ave. + Wilmette, IL 60091-1452 Phone: (708) 256-0017 ~ t ~'~~ ~ ~ '~ ~'i • ~-' :~ ~ ~.,~, ~/~ ~1, ~' This book is dedicated to the many police middle managers across America who are doing an excellent job implementing community policing---despite the expert prognostications that middle managers are the worst obstacles to organizational change. As the great pitcher Satchel Paige observed (and great cop Chris Braiden so helpfully reminds us), "It ain't what we don't know that hurts us. It's what we know that just ain't so." It is affectionately dedicated as well to Geller's mentor, Norval Morris. Upon his recent retirement from full-time teaching at the University of Chicago Law School, Norval remarked what a queer experience retirement was: "I still think of myself as a promising young man," he confided. -
Joseph Plumb Martin and the American Imagination
© 2011 PETER MANOS ALL RIGHTS RESERVED JOSEPH PLUMB MARTIN AND THE AMERICAN IMAGINATION A Dissertation Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Peter Manos December, 2011 JOSEPH PLUMB MARTIN AND THE AMERICAN IMAGINATION Peter Manos Dissertation Approved: Accepted: _____________________________ ________________________________ Advisor Department Chair Dr. Elizabeth Mancke Dr. Michael Sheng _____________________________ ________________________________ Co-Advisor/ Committee Member Dean of the College Dr. Walter Hixson Dr. Chand Midha ______________________________ ________________________________ Committee Member Dean of the Graduate School Dr. Kevin Kern Dr. George Newkome _____________________________ ________________________________ Committee Member Date Dr. Kevin Adams _____________________________ Committee Member Dr. Patrick Chura ii ABSTRACT The personal narrative of ordinary Continental Army private Joseph Plumb Martin has long provided corroborating evidence for battlefield accounts of the American Revolution and has never been out of print, albeit usually in abridged form, since its discovery in the mid-twentieth century. Yet, the memoir was written in 1830, fifty years after the events Martin narrated. Its romantic literary style, its populist sensibility, its racism, its empiricism, all reflect nineteenth-century values. The memoir has value in epitomizing the solidification of American nationalism and the populist rhetoric that became associated with it. Chapter one attempts to understand Martin’s rhetoric in terms of the literary influences on his writing, which include some works of the nineteenth century, but most from earlier times. Particularly evident is a modeling of behavior and outlook on the popular “Jonathan” character emerging from the works of post-Revolutionary American playwright Royall Tyler and others coupled with the romantic low-born outdoorsmen protagonists of nineteenth century rural poet Robert Bloomfield. -
Drama out of a Crisis, Illuminations February 2019
Drama out of a Crisis, Illuminations February 2019 Drama Out of a Crisis: a celebration of Play for Today A 90-minute documentary to mark the series’ 50th anniversary Written and produced by John Wyver, Illuminations In 300-plus single dramas made between October 1970 and August 1984 Play for Today engaged directly, brilliantly, uncompromisingly, entertainingly and in fundamentally innovative ways with the turbulent time that was Britain in the 1970s and early 1980s. And the series did so for audiences that regularly exceeded 5 million viewers. These were the years in which the post-war consensus was torn apart by industrial conflict, inflation, racial tensions, rapidly changing sexual politics, the rise of the far right, the conflict in Northern Ireland, and, in the last years, the social policies of Margaret Thatcher’s government. In studio dramas and films made by, among many others, writers Dennis Potter, Trevor Griffiths, Paula Milne, Julia Jones, Colin Welland and Jim Allen, and directors Alan Clarke, Ken Loach, Philip Saville, John Mackenzie and Horace Ové, Play for Today was the heart of television’s creative response to the nation’s tribulations. Drama Out of a Crisis is a compelling exploration of the series, and of its origins, achievements, controversies, quirks and legacies. It features an immensely rich and surprising range of archive extracts and original interviews restricted to participants in the series, including producers Kenith Trodd, Margaret Matheson, Tony Garnett and Richard Eyre together with major creatives like David Hare and Mike Leigh. James Fox and Penelope Wilton in Trevor Griffiths’ Country (1980) 1 Drama out of a Crisis, Illuminations February 2019 The distinctiveness of Drama Out of a Crisis is achieved by creative and sometimes unconventional use of extracts, narration by a high- profile actor, imaginative graphics and a deeply informed analysis. -
Drama out of a Crisis: a Celebration of Play for Today a 90-Minute Documentary to Mark the Series’ 50Th Anniversary Written and Produced by John Wyver, Illuminations
Drama out of a Crisis, Illuminations February 2019 Drama Out of a Crisis: a celebration of Play for Today A 90-minute documentary to mark the series’ 50th anniversary Written and produced by John Wyver, Illuminations In 300-plus single dramas made between October 1970 and August 1984 Play for Today engaged directly, brilliantly, uncompromisingly, entertainingly and in fundamentally innovative ways with the turbulent time that was Britain in the 1970s and early 1980s. And the series did so for audiences that regularly exceeded 5 million viewers. These were the years in which the post-war consensus was torn apart by industrial conflict, inflation, racial tensions, rapidly changing sexual politics, the rise of the far right, the conflict in Northern Ireland, and, in the last years, the social policies of Margaret Thatcher’s government. In studio dramas and films made by, among many others, writers Dennis Potter, Trevor Griffiths, Paula Milne, Julia Jones, Colin Welland and Jim Allen, and directors Alan Clarke, Ken Loach, Philip Saville, John Mackenzie and Horace Ové, Play for Today was the heart of television’s creative response to the nation’s tribulations. Drama Out of a Crisis is a compelling exploration of the series, and of its origins, achievements, controversies, quirks and legacies. It features an immensely rich and surprising range of archive extracts and original interviews restricted to participants in the series, including producers Kenith Trodd, Margaret Matheson, Tony Garnett and Richard Eyre together with major creatives like David Hare and Mike Leigh. James Fox and Penelope Wilton in Trevor Griffiths’ Country (1980) 1 Drama out of a Crisis, Illuminations February 2019 The distinctiveness of Drama Out of a Crisis is achieved by creative and sometimes unconventional use of extracts, narration by a high- profile actor, imaginative graphics and a deeply informed analysis. -
On with the Dance: Nation, Culture, and Popular Dancing in Britain, 1918-1945
On With the Dance: Nation, Culture, and Popular Dancing in Britain, 1918-1945 by Allison Jean Abra A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2009 Doctoral Committee: Emeritus Professor Sonya O. Rose, Co-Chair Associate Professor Kali A.K. Israel, Co-Chair Associate Professor James W. Cook Jr. Associate Professor Beth Genné © Allison Jean Abra 2009 To my parents, Douglas and Glennis Abra ii Acknowledgements Conversations with some of my fellow graduate students over the years have revealed that we all spend a lot of time anticipating the moment when we will get to write our acknowledgements. Not only because it means we must be close to being finished, but because one really does accrue a lot of debts in the course of writing a dissertation! I first want to thank my dissertation co-chairs, Sonya Rose and Kali Israel, and my committee member Jay Cook. All three began advising me from my earliest days in graduate school, and their guidance has been invaluable to the completion of this dissertation. Not only did they all provide wonderful advice and intellectual support, but they each went above and beyond in various ways, hiring me as a research assistant or study abroad assistant, or providing me with a place to stay as a house-sitter while in London. I also want to thank my cognate committee member Beth Genné, who demonstrated so much enthusiasm for this project, and who provided helpful insights from the perspective of dance scholarship. -
Teamster Rebellion.Pdf
T뿔Al\톨S�’톨3뿔1. REBELL톰{톨N F A톰톰E l l 0톰흩$ New York london Montreal Sydney Copyright @ 1972, 2004 by Pathfinder Press All rights reserved ISBN 978-0-87348-973-7 Library of Congress Control Number 2004101521 Manufactured in the United States of America First edition, 1972 Second edition, 2004 Eighth printing, 2011 COVER DESIGN: Eva Braiman Pathfinder www.pathfìnderpress.com E-mail: pathfìnder@pathfìnderpress.com To the men and womeη who gαve me uη5hakαble coη껴dence in the working clα55, the rank and fileof Generαl Driver5 Local 574 ILLUSTRATIONS Fαrrell Dobbs 9 April15, 1934, meetíng leaflet 90 Local574 appealsfor workers solídaríty 111 Letterfrom Northwest Fruít 169 Juυ 23, 1934, Organizer 180 August 1, 1934, Minneapolis Tribune 206 Joke mαsthead, August 25, 1934, Organizer 218 Cartoons from The Organizer 219 August 22, 1934, Organizer 248 CONTENTS 8 About the author n Introduction to the Spanish edition, by Jack Bαrnes πμ Acknowledgments 1. The making of a revolutionary 27 2. Seeds of revolt 40 3. Plan of battle 52 4. The opening wedge 66 5. General mobilization 80 6. Organizing the strike 98 7. Warfare begins 106 8. Trickery in the negotiations 124 9. The strike resumes 143 10. Bloody Friday 165 11. Military strikebreaking 188 12. War of attrition 210 13. Local 574 wins 230 Appendix 249 Index 251 ABOUT THE AUTHOR Farrell Dobbs (1907-1983) joined the Communist League of America (predecessor of the Socialist Workers Party) in 1934 whi1e working in a Minneapolis coal yard. A rank and-file leader of the 1934 Teamsters strikes and organiz ing drive, he was subsequently elected secretary-treasurer of Local 574 (later 544).