DOCSLIB.ORG

HA1114 Realism and the Cinema | Readinglists@Leicester

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HA1114 Realism and the Cinema | Readinglists@Leicester 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester HA1114 Realism and the Cinema View Online [1] R. Armstrong, ‘What is Realism?: Chapter’, in Understanding realism, vol. Understanding the moving image, London: BFI, 2005, pp. 1–10. [2] Hallam, Julia and Marshment, Margaret, Realism and popular cinema, vol. Inside popular film. Manchester: Manchester University Press, 2000. [3] S. Hayward, ‘Realism: Chapter’, in Cinema studies: the key concepts, 2nd ed., vol. Key concepts series, London: Routledge, 2000, pp. 334–334. [4] R. Lapsley and M. Westlake, ‘Realism: Chapter’, in Film theory: an introduction, vol. Images of culture, Manchester: Manchester University Press, 1988, pp. 156–180 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eRes erves/HA1114/HA1114_24151.pdf [5] A. Tudor, ‘The Many Mythologies of Realism’, Screen, vol. 13, no. 1, pp. 27–36, Mar. 1972, doi: 10.1093/screen/13.1.27. [6] 1/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester R. Williams, ‘Realism: Chapter’, in Keywords: a vocabulary of culture and society, Rev. and expanded ed., London: Fontana, 1988, pp. 216–221. [7] Williams, Christopher, Realism and the cinema: a reader, vol. BFI readers in film studies. London: Routledge and Kegan Paul [for] British Film Institute, 1980. [8] D. Vertov and Y. Tsivian, ‘Chelovek s kinoapparatom =: Man with a movie camera.’ BFI, [S.l.]. [9] R. Stam, ‘The Soviet Montage Theorists’, in Film theory: an introduction, Oxford: Blackwell, 2000, pp. 37–47 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-1025236-dt-content-rid-2569821_5/library/eRe serves/HA1114/HA1114_34953.pdf [10] Bordwell, David, The cinema of Eisenstein. Cambridge, Mass: Harvard University Press, 1993. [11] Taylor, Richard and Christie, Ian, The film factory: Russian and Soviet cinema in documents. London: Routledge, 1994. [12] Christie, Ian and Taylor, Richard, Inside the film factory: new approaches to Russian and Soviet cinema, vol. Soviet cinema. London: Routledge, 1994 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10100617 [13] 2/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Eisenstein, Sergei and Taylor, Richard, The Eisenstein reader. London: BFI Publishing, 1998. [14] Eisenstein, Sergei, Film essays, with a lecture. London: Dobson, 1968. [15] Eisenstein, Sergei and Leyda, Jay, The film sense, New ed. London: Faber, 1948. [16] Eisenstein, Sergei and Taylor, Richard, Selected works. London: BFI, 1988. [17] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO, the Russian cinema series. London: I. B. Tauris, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10194040 [18] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO : the Russian cinema series. London: I.B. Tauris, 2007. [19] Ioffe, Denis G. and White, Frederick H., Russian avant-garde and radical modernism: an introductory reader, vol. Cultural syllabus. Boston: Academic Studies Press, 2012 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10629193 [20] Lehman, Peter, Defining cinema, vol. Rutgers depth of field series. New Brunswick, N.J.: Rutgers University Press, 1997. 3/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [21] Petrić, Vlada, Constructivism in film: ‘The man with the movie camera’ : a cinematic analysis, vol. Cambridge studies in film. Cambridge: Cambridge University Press, 1987. [22] Roberts, Graham, The man with the movie camera, vol. KINOfiles film companions. London: I.B. Tauris, 2000. [23] D. Vertov, ‘Kinoks: a Revolution: Chapter’, in Technology and culture, the film reader, vol. In focus: Routledge film readers, London: Routledge, 2005, pp. 99–104. [24] Vertov, Dziga and Michelson, Annette, Kino-eye: the writings of Dziga Vertov. Berkeley: University of California Press, 1984. [25] Sargeant, Amy, Storm over Asia, vol. KINOfiles film companions. London: I.B. Tauris, 2007. [26] Sargeant, Amy, Vsevolod Pudovkin: classic films of the Soviet avant-garde, vol. KINO, the Russian cinema series. London: I.B. Tauris, 2000 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133128 [27] Andrew, Dudley, The major film theories: an introduction, vol. A Galaxy book. London: Oxford University Press, 1976. 4/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [28] Arnheim, Rudolf, Film essays and criticism, vol. Wisconsin studies in film. Madison, Wis: University of Wisconsin Press, 1997. [29] R. Arnheim, ‘Film and Reality: Chapter’, in Film as art, London: Faber, 1958, pp. 17–37 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-724231-dt-content-rid-1806405_5/library/eRes erves/HA1114/HA1114_24118.pdf [30] B. Henderson, ‘Two Types of Film Theory: Chapter’, in Movies and methods: an anthology, vol. 1, Berkeley, Calif: University of California Press, 1976, pp. 388–400. [31] A. Dovzhenko, ‘Aleksander Dovzhenko: War Trilogy.’ 1928. [32] Eisenstein, Sergei, ‘Bronenosets Potyomkin =: The Battleship Potemkin’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [33] Pudovkin, V. I., Doller, Mikhail, Baranovskaya, Vera, and Chistyakov, Aleksandr, ‘Konets Sankt-Peterburga =: The end of St. Petersburg.’ Eureka Video, [S.l.], 1927. [34] Kuleshov, L. V., Barnet, Boris, Podobed, Porfiri, and Pudovkin, V. I., ‘Neobychainye priklyucheniya mistera Vesta v strane bolshevikov =: The extraordinary adventures of Mr. West in the land of the Bolsheviks’, vol. The signature series. Kino on Video, New York, 1924. 5/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [35] Shub, Esfir, ‘Padenie dinastii Romanovykh =: The fall of the Romanov dynasty’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [36] Vertov, Dziga, ‘“Kino-Eye” and “Tri pesni o Lenine = ”Three songs about Lenin"’. Image Entertainment, Chatsworth, Calif, 1924. [37] Pudovkin, V. I., Gorky, Maksim, Baranovskaya, Vera, and Batalov, Nikolai, ‘Mat =: Mother.’ Tartan Video, [S.l.], 1926. [38] Eisenstein, Sergei, ‘Oktyabr =: October’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [39] Turin, Viktor, Rotha, Paul, Elton, Arthur, Wright, Basil, and Watt, Harry, ‘The Soviet influence: from “Turksib” to “Night Mail”.’ BFI, [S.l.], 1930. [40] Pudovkin, V. I. et al., ‘Potomok Chingis-Khana =: The heir of Genghis Khan.’ Eureka Video, [S.l.], 1928. [41] Eisenstein, Sergei, ‘Stachka =: Strike’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [42] 6/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Maggiorani, Lamberto and De Sica, Vittorio, ‘Ladri di biciclette =: Bicycle thieves’, vol. Arrow films world. Arrow Films, S.l.], 1948. [43] C. Zavattini, ‘Some Ideas on the Cinema: Chapter’, in Vittorio De Sica: contemporary perspectives, vol. Toronto Italian studies, Toronto: University of Toronto Press, 2000, pp. 50–61. [44] Bazin, André and Cardullo, Bert, André Bazin and Italian neorealism. New York: Continuum, 2011 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775 [45] Bondanella, Peter, The films of Roberto Rossellini, vol. Cambridge film classics. Cambridge: Cambridge University Press, 1993. [46] Cardullo, Bert, Vittorio De Sica: director, actor, screenwriter. Jefferson, N.C.: McFarland, 2002. [47] Celli, Carlo and Cottino-Jones, Marga, A new guide to Italian cinema, 1st ed., vol. Italian and Italian American studies. New York: Palgrave Macmillan, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438 [48] M. Fabe, ‘Italian Neorealism: De Sica’s The Bicycle Thief: Chapter’, in Closely watched films: an introduction to the art of narrative film technique, Berkeley, Calif: University of California Press, 2004, pp. 99–119. 7/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [49] Forgacs, David, Rome open city (Roma città aperta), vol. BFI film classics. London: British Film Institute, 2000. [50] Giovacchini, Saverio and Sklar, Robert, Global neorealism: the transnational history of a film style. Jackson: University Press of Mississippi, 2011 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10508856 [51] Gordon, Robert Samuel Clive, Bicycle thieves, vol. BFI film classics. London: BFI, 2008. [52] Gottlieb, Sidney, Roberto Rossellini’s Rome open city, vol. Cambridge film handbooks. Cambridge: Cambridge University Press, 2004. [53] M. Harper, ‘Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema’, in Impure Cinema: Intermedial and Intercultural Approaches to Film, London: I.B.Tauris & Co Ltd, 30AD, pp. 121–133 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399 [54] Hillier, Jim, Cahiers du cinéma: the 1950s : neo-realism, Hollywood, new wave, vol. Harvard film studies. Cambridge, Mass: Harvard University Press, 1985. [55] Landy, Marcia, Italian film, vol. National film traditions. Cambridge: Cambridge University Press, 2000. [56] 8/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Marcus, Millicent, Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press, 1986. [57] G. Nowell-Smith, ‘Bicycle Thieves: Chapter’, in Film Analysis, New York: WW Norton
Load more

Recommended publications
  • This Is England Brochure
    oiengland_brochure 5/6/05 9:42 AM Page 2 OI THIS IS ENGLAND THE NEW FILM FROM SHANE MEADOWS PRODUCED BY - WARP FILMS EXECUTED PRODUCED / UK DISTRIBUTION- OPTIMUM RELEASING FINANCE - FILM FOUR oiengland_brochure 5/6/05 9:42 AM Page 3 KNIGHT NICK BY SKINHEAD FROM SOURCED PHOTOS DIRECTED BY SHANE MEADOWS (Dead Man’s Shoes, Once Upon A Time In The Midlands, A Room For Romeo Brass, 24/7) Credits not contractual oiengland_brochure 5/6/05 9:42 AM Page 4 SYNOPSIS 1983 WAS A TIME BEFORE MTV, BEFORE GAMEBOY, AND BEFORE 2.4 CHILDREN. UNLIKE OUR CURRENT COUCH POTATO CULTURE, IN THE EARLY EIGHTIES THERE WAS VERY LITTLE TO KEEP THE DISENCHANTED YOUTH ANESTHETISED INDOORS, SO AS UNEMPLOYMENT FIGURES ROSE AND THE YTS SCHEMES FELL, THE KIDS REFUSED TO TOE THE FACTORY LINE AND SPILLED OUT ONTO THE STREETS. THE STAGE WAS SET FOR A REVOLUTION. Rockers, New Romantics, Mods, Punks, Casuals, Smoothies, Ska kids and Skinheads stood shoulder to shoulder, hissing and spitting in the discos, precincts and subways of the working class towns across the nation. Oi! This is England tells the story of SHAUN, an 11-year-old kid growing up without a father in the north of England. Set during the summer holidays of 1983, we chart his rites of passage from a shaggy haired ruffian grieving the loss of his father into a shaven headed thug whose anger and pain are embraced by the local skinhead fraternity and ultimately the National Front. With a shell of a mother and no father to guide him, Shaun seems set for certain destruction.
    [Show full text]
  • Conference Reports – October 2010
    Scope: An Online Journal of Film and Television Studies Issue 18 October 2010 Conference Reports – October 2010 Table of Contents Bloodlines: British Horror Past and Present Michael Ahmed. .................................................................................... 3 IMAGEing Reality Stefano Odorico. ................................................................................. 8 The Moving Image: Reconfiguring Spaces of Loss and Mourning in the 21st Century Jenny Chamarette. ............................................................................. 11 NECS 2009 3rd Annual Conference: Locating Media Andrea Virginás. ................................................................................ 17 New Waves: XII International Film and Media Conference Hajnal Kiraly ...................................................................................... 21 Open Graves, Open Minds: Vampires and the Undead in Modern Culture Darren Elliott-Smith. .......................................................................... 25 Re-Living Disaster Ozlem Koksal. ................................................................................... 29 SCMS @ 50/LA (Society for Cinema and Media Studies): Archiving the Future, Mobilizing the Past Jason Kelly Roberts,. .......................................................................... 32 SCMS @ 50/LA (Society for Cinema and Media Studies) Martin L. Johnson. ............................................................................. 35 1 Conference Reports Straight Outta Uttoxeter:
    [Show full text]
  • Shane Meadows' Country: This Is England (2006)
    SHANE MEADOWS’ COUNTRY: THIS IS ENGLAND (2006) Carla Ferreira de Castro Universidade de Évora Portugal [email protected] This Is England is social realist film portraying racism and poverty in 1980s Britain through the eyes of Shaun, a 12 year old boy, who has lost his father in the Falklands war and as to come to terms with his own identity, the difficult transition from childhood to adolescence and the need to fit in a determined group/tribe/gang. The following article aims at analysing relevant aspects depicted from the film emphasizing the so much debated reality of life during 80s. In This is England Shane Meadows manages to rediscover his own self geography, by revisiting his adolescent years. It is a biographical film about the importance of peer pressure and the results of an excess of nationalism, at the same time it typifies some issues related to the 80s youth culture. This is England é um filme social e realista que descreve o racismo e a pobreza na Grã-Bretanha dos anos 80 através do olhar de Shaun, um rapaz de 12 anos, que perdeu o pai a Guerra das Maldivas e tem de gerir a busca pela sua identidade, a transição da infância para adolescência e a necessidade de pertencer a um determinado grupo/tribo/gang. O presente artigo visa analisar aspectos relevantes extraídos do filme enfatizando a tão debatida realidade da vida nos anos 80. Em This is England Shane Meadows reencontra a geografia do ser, através do revisitar dos seus anos enquanto adolescente. É um filme biográfico acerca da importância da pressão exercida pelos pares e o resultado de um nacionalismo excessivo, ao mesmo tempo que tipifica alguns aspectos relacionados com a cultura dos anos 80.
    [Show full text]
  • Rannual Report 2019
    ANNUAL REPORT 2019 3 Dorset Rise, London EC4Y 8EN 020 7822 2810 – [email protected] www.rts.org.uk RtS PATRONS PRINCIPAL PATRONS BBC ITV Channel 4 Sky INTERNATIONAL PATRONS A+E Networks International Netflix Discovery Networks The Walt Disney Company Facebook Viacom International Media Networks Liberty Global WarnerMedia NBCUniversal International YouTube MAJOR PATRONS Accenture IMG Studios All3Media ITN Amazon Video KPMG Audio Network Motion Content Group Avid netgem.tv Boston Consulting Group NTT Data BT OC&C Channel 5 Pinewood TV Studios Deloitte S4C EndemolShine Sargent-Disc Enders Analysis Spencer Stuart Entertainment One STV Group Finecast The Trade Desk Freeview UKTV Fremantle Vice Gravity Media Virgin Media IBM YouView RTS PATRONS Autocue Lumina Search Digital Television Group Mission Bay Grass Valley PriceWaterhouseCoopers Isle of Media Raidió Teilifís Éireann 2 BOARD OF TRUSTEES REPORT TO MEMBERS Forewords by RTS Chair and CEO 4 I Achievements and performance 6 1 Education and skills 8 2 Engaging with the public 16 3 Promoting thought leadership 24 4 Awards and recognition 30 5 The nations and regions 36 6 Membership and volunteers 40 7 Financial support 42 8 Our people 44 9 Summary of national events 46 10 Centre reports 48 II Governance and finance 58 1 Structure, governance and management 59 2 Objectives and activities 60 3 Financial review 60 4 Plans for future periods 62 5 Administrative details 62 Independent auditor’s report 64 Financial statements 66 Notes to the financial statements 70 Who’s who at the RTS 84 Royal Television Society AGM 2020 In light of the restrictions in place due to the Covid-19 crisis, the Society is reviewing the timing and logistics involved in holding its 2020 AGM.
    [Show full text]
  • Shane Meadows' Children
    `Stick that knife in me': Shane Meadows' children Article (Published Version) Lebeau, Vicky (2013) ‘Stick that knife in me’: Shane Meadows’ children. Journal of British Cinema and Television, 10 (4). pp. 878-889. ISSN 1743-4521 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/20805/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk ‘Stick that knife in me’: Shane Meadows’ Children Vicky Lebeau Abstract: This article brings Shane Meadows’ Dead Man’s Shoes (2004) into dialogue with the history of the depiction of the child on film.
    [Show full text]
  • Fiktion Med Virkeligheden Som Kulisse
    Marinekorporal Ramirez (Elliot Ruiz) i Battle for Haditha (2008, instr. Nick Broomfield). Fiktion med virkeligheden som kulisse Interview med Nick Broomfield om hans semi-dokumentariske spillefilm Ghosts (2006) og Battle for Haditha (2008) AfLars Movin I en af de mest bemærkelsesværdige sce­ til. Scenen er placeret hen imod slutnin­ ner i Nick Broomfields seneste film, Battie gen, efter at vi har fulgt Ramirez og hans for Haditha (2008), et action-drama base­ deling gennem et blodigt døgn, hvor de ret på en autentisk begivenhed under Irak- unge amerikanske marinesoldater som en krigen, bryder historiens amerikanske reaktion på, at de lige akkurat er sluppet hovedperson, marinekorporalen Ramirez, levende forbi en vejsidebombe, er gået sammen foran kameraet og skiftevis græ­ amok i en blodrus og har slagtet mere der og raser af indestængte frustrationer end tyve civile irakere, mænd, kvinder og over den situation, han er havnet i, og børn. Og selv om den marinesoldat fra 106 alt det forfærdelige, han har været vidne det virkelige liv, Elliot Ruiz, som spiller a f Lars Movin Ramirez, ved optagestart aldrig tidligere havde stået foran et kamera, i hvert fald ikke som medvirkende i en fiktionsfilm, leverer han en særdeles intens præstation med en overrumplende grad af autentici­ tet, en regulær følelsesstorm af den type, som andre instruktører normalt ville give nærmest hvad som helst for at trække ud af en professionel skuespiller. Forklaringen er, ifølge Nick Broomfield, den ganske enkle, at scenen er dokumen­ tarisk. Battle for Haditha (2008, instr. Nick Broomfield). “Filmen er optaget i Jordan,” fortæller han, “et land, der på mange måder minder om alle mulige andre steder i Mellem­ østen.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Made in Britain: Warp Films at 10
    13/14 Made in Britain: Warp Films at 10 A 10th Anniversary celebration at BFI Southbank In spring last year BFI Southbank launched Made in Britain, an annual exploration of contemporary British Cinema. In April the strand returns with a selection of the most ground- breaking titles from Warp Films, as we celebrate this seminal production companyǯ ͳͲ anniversary. Warp Films have in their way defined a decade and are helping to shape the future of British cinema, offering the opportunity for highly original and exciting talent to make films that might otherwise be overlooked. BAFTA-winning films such as the This is England (2006), Four Lions (2010) and Tyrannosaur (2011) will all feature, but the season will launch with what promises to be a truly awesome event when ǯ (2004), directed by Shane Meadows, will screen with a live music accompaniment Ȃ featuring musicians from UNKLE and Clayhill plus Jah Wobble - at the Queen Elizabeth Hall on Friday 29 March. There will also be a Warp Films Shorts Programme, including work by Lynne Ramsay, Chris Cunningham and Paddy Considine plus a BUG: Warp Records Special, followed by an aftershow in benugo with Warp DJs hitting the decks. To complement this amazing showcase there will be an exhibition of newly designed Warp Film posters, by Sheffield-based artist Pete McKee, displayed exclusively in The Atrium at BFI Southbank. Warp Films have been at the heart of a new wave of filmmaking in the UK and have provided a platform for fresh, radical ideas and emerging talent from film and TV.
    [Show full text]
  • The Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Green Zone and the Hurt Locker
    The Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Green Zone and The Hurt Locker Kingsley Marshall Submitted to the University of East Anglia as a thesis for the degree of Doctor of Philosophy in Film. University of East Anglia School of Art, Media & American Studies January 2018 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Word Count: 84983 Abstract This thesis argues that the perception of realism and ‘truth’ within narrative feature films set within the Gulf War (1990-1991) and Iraq War (2003-2011) is bound up in other transmedia representations of these conflicts. I identify and define what I describe as the Gulf War Aesthetic, and argue that an understanding of the ‘real life’ of the war film genre through its telling in news reportage, documentary and combatant-originated footage serves as a gateway through which the genre of fictional feature films representing the conflicts and their aftermath is constructed. I argue that the complexity of the Iraq War, coupled with technological shifts in the acquisition and distribution of video and audio through online video-sharing platforms including YouTube, further advanced the Gulf War Aesthetic. I identify The Hurt Locker (Bigelow, 2009) and Green Zone (Greengrass, 2010) as helpful case studies to evidence these changes, and subject both to detailed analysis.
    [Show full text]
  • Representation of Englishness in Skinhead Subculture In
    REPRESENTATION OF ENGLISHNESS IN SKINHEAD SUBCULTURE IN SHANE MEADOWS’ FILM THIS IS ENGLAND A THESIS BY: KHAIRUNNISA REG. NO. 1007050690 SUPERVISOR CO-SUPEPVISOR Dr. Siti Norma Nasution, M.Hum Dr. Hj. Nurlela, M.Hum Submitted to the Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirement for the degree of Sarjana Sastra from Department of English DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2014 Universitas Sumatera Utara Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination. Head, Secretary, Dr. H. Muhizar Muchtar, M.S Rahmadsyah Rangkuti, MA. Ph.D Universitas Sumatera Utara Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on 2014 Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. H. Syahron Lubis, MA NIP.19511013 197603 1 001 Board of Examiners Dr. H. Muhizar Muchtar, M.S ___________________ Rahmadsyah Rangkuti, MA. Ph.D ___________________ Dra. Redita Lubis, Dipl Appl. Ling. M.Hum ___________________ Dr. Siti Norma Nasution, M.Hum ___________________ Universitas Sumatera Utara AUTHOR’S DECLARATION I, KHAIRUNNISA, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE.
    [Show full text]
  • 12YAS Notes FINALX
    ABOUT THE FILMMAKERS STEVE M cQUEEN (Directed by, Produced by) is a British artist and filmmaker. In 2008, M cQueen’s critically acclaimed first feature HUNGER won the Camera d’Or at the Cannes Film Festival among countless other international prizes. He followed with 2011’s incendiary film experience, SHAME, a provocative drama about addiction and secrecy in the modern world. The film received numerous accolades and awards with M cQueen winning the CinemAvvenire Award and FIPRESCI Prize at the Venice Film Festival as well as nominations from BAFTA, the British Independent Film Awards, the London Film Festival, Evening Standard British Film Awards and the Independent Spirit Awards. In 1996, M cQueen was the recipient of an ICA Futures Award, in 1998 he won a DAAD artist’s scholarship to Berlin and in 1999 - besides exhibiting at the ICA and at the Kunsthalle in Zürich - he also won the Turner Prize. McQueen has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta (2002 and 2007) and at the 53rd Venice Biennale in 2009 where he represented Britain. His work is held in museum collections around the world including Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq war by the Imperial War Museum and subsequently produced the poignant and controversial project Queen and Country, which commemorated the deaths of British soldiers who died in the Iraq War by presenting their portraits as a sheet of stamps. In 2002, he was awarded the OBE and the CBE in 2011.
    [Show full text]
  • This Is England: Growing up in Thatcher's Britain
    This is England: Growing Up in Thatcher’s Britain David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. In a pivotal scene in Shane Meadows’ 2006 film This is England, the skinhead Combo, recently released from prison, summons the other members of his erstwhile gang. In a blistering speech, he attempts to recruit them to the cause of the extreme right- wing political party, the National Front. Discovering that the youngest member, Shaun, had a father who was killed in the Falklands War, he explodes: That’s what this nation has been built on, proud men. Proud fucking warriors! Two thousand years this little tiny fucking island has been raped and pillaged, by people… two fucking world wars! Men have laid down their lives for this. For this… and for what? So people can stick their fucking flag in the ground and say yeah! This is England. And this is England, and this is England. As he says these last words, Combo gestures first to the ground, then to his heart and finally to his head. England, he claims, is not just a physical place, a country: it also lives in our hearts, and in our minds. In a later scene, when Combo brings his ‘troops’ (as he calls them) to attend a National Front meeting, it is clear how this resurgent idea of England is being taken up in the interests of violent racism.
    [Show full text]