Je T`Aime... Moi Non Plus: Franco-British Cinematic Relations, Catherine Wheatley, Lucy Mazdon
Автор: Stone James D. Название: America Through a British Lens: Cinematic Portrayals 1930-2010 ISBN: 0786498145 ISBN-13(EAN): 9780786498147 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 6653.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Movies like Love Actually, The Quatermass Xperiment, Local Hero and The Secret Agent have delved into the storied "special relationship" between the US and UK. These films and many more are examined this first book-length study of British movies about America, revealing much about British attitudes regarding power, gender, class, sexuality and emotion.
Описание: This groundbreaking book investigates the murky relationship between the Metropolitan Police Press Bureau and the British film industry, shedding new light on police-media relations. Beginning with the culture of suppression during the interwar period, when retired police inspectors were threatened with loss of pension should they become involved with the film industry, the relationship shifted when a forgotten pioneer of public relations, Percy Fearnley, was appointed to the role of Metropolitan Police Public Information Officer in 1945. Fearnley was the first-ever journalist to take up this role and, through him, the Metropolitan Police embarked on a series of collaborations with the highest echelons of postwar British cinema, including J. Arthur Rank, Ealing Studios and Gainsborough Studios. Using newly-declassified internal Metropolitan Police and Home Office correspondence, Alexander Charles Rock tells the story of the Metropolitan Police’s project to manipulate the British film industry into producing propaganda under the guise of mainstream entertainment cinema. In doing so he offers a radical re-reading of the context of production of a number of canonical British films such as The Blue Lamp (1950), I Believe In You (1952) and Street Corner (1953).
Entertainment and profit constitute the driving forces behind most popular representations of incarcerated women. Some cinematic representations, however, and the women-in-prison genre especially, can generate complex legal meanings and leave viewers feeling unsettled about women’s incarceration. Focusing on five exemplary films and one television series, from 1933 to the present, Women, Film, and Law asks how fictional representations explore, shape, and refine beliefs about women’s incarceration. Suzanne Bouclin convincingly argues that popular depictions of women’s prisons can illuminate multiple forms of marginalization and oppression experienced by women in conflict with the law.
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