201 Result(s)
within
Cultural and Media Studies
Screen Studies
Chapter
English
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Chapter
The Regions
The treatment of non-metropolitan Britain may be mapped out in the cinema via a shift to the regions over the years, often (in the process) taking in aspects of British life marginalised by more mainstream Bri...
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Corporate Crime: Curtains for the Maverick
The recurrent themes of free agent individuals against institutions have inevitably been attractive to the makers of crime films, given the ready-made dramatic (and violent) possibilities of such conflicts. An...
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The Age of Acquisition: New Crime
The notion of instant gratification/acquisition as a motivation for crime (as opposed to careful, methodical planning) is hardly a new one, and while modern instances of the phenomenon (both in the cinema and ...
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Conclusion
Jacques Derrida once commented in La Dissémination (1972) that the Conclusion to a given work is rarely its last word, in the sense of being the final thoughts actually penned by the author (Derrida, 1981, pp. 1–...
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Heritage Britain
Who created the cosy, reassuring cinematic (and televisual) image of Britain fondly held by many foreigners throughout the world — even in the twenty-first century? One woman might be said to be the locus classic...
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The New Violence: The Loss of Innocence
The changing representation of violent criminal psychology in British film over the years has resulted in a sea change in the genre, with previously marginalised psychopathic killers moving from periphery to c...
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Metropolitan Murder: London
A particularly idiosyncratic view of the capital may be perceived through the British crime film over the years: kaleidoscopic, ugly, full of quirky character and colour, as authentic in its vision as it is de...
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Breaking Taboos: Sex and the Crime Film
Sex, not violence, is the last taboo. The British crime film — with its less-than-respectable artistic pedigree — has (throughout its history) been unofficially licensed to undertake groundbreaking treatments ...
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Mockney Menace: The New Wave
For any student of popular culture, it is instructive to notice how quickly a trend can pass, or at least descend into the realms of exhaustion and self-parody. Of course, such a progression is often mirrored ...
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Twenty-First-Century Hybrids
It is interesting to speculate on the future of the crime film. Like all durable genres in the cinema, the crime movie is cyclical, with familiar tropes making periodic reappearances (after a suitable interval...
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Introduction
Since its original publication in 1975, Gilles Deleuze and Félix Guattari’s Kafka: Toward a Minor Literature has played a catalytic role in the critical re-evaluation of the works of Samuel Beckett as a form of ‘...
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The Age of Austerity: Post-War Crime Films
Any examination of the changes in post-war British society as reflected in the nation’s crime cinema must concentrate on the various social trends touched upon (sometimes obliquely) in the films: prostitution,...
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Between Left and Right: Politics and Individuals
The treatment of politics in the British crime film has varied over the years from the glancing to the full-on, firstly via the use of metaphor and analogy in more cautious times, and succeeded more recently b...
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Shame of a Nation: Juvenile Delinquents and Exploitation
British crime cinema’s sensational, censor-baiting treatment of delinquency in the 1950s and 1960s was catnip to the self-styled guardians of morality (in both the popular and serious press, prissily condemnin...
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Introduction
Since 1979, Iran has made headlines with uncanny frequency, and mostly for unfortunate reasons. The image of Ayatollah Khomeini captivated minds around the world and began to shape the geopolitics of the regio...
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Scourging the Unacceptable: Censorship Battles
In the 1930s, American society (inspired by an avant-la-lettre Religious Right quite as vociferous as the resurgent movement to be found in the US Republican Party in the twenty-first century) worked itself into ...
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Esmeralda of Notre-Dame: The Gypsy in Medieval View from Hugo to Disney
On the Feast of Fools, 1482, at the Palais de Justice, in Victor Hugo’s Notre-Dame de Paris (1831), the eye of Pierre Gringoire is fixed upon La Esmeralda, whose dancing has captured the restive audience for his ...
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Regarding You
In November 2009, Bahman Ghobadi, the young Iranian-Kurdish director, wrote an open letter to Abbas Kiarostami, the father figure of Iranian cinema. Ghobadi, who once worked as Kiarostami’s assistant, has been...
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Englishness and America: Basil Rathbone’s Sherlock Holmes
The ‘Sherlock Holmes’ series of films, originally produced by Twentieth Century Fox for two period versions in 1939 (both released as headlining movies), and then by Universal, after the series was revived and...
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Walt in Sherwood, or the Sheriff of Disneyland: Disney and the Film Legend of Robin Hood
No place would seem farther from the Hoodian greenwood than Slee** Beauty Castle at Disneyland or Cinderella Castle in Walt Disney World. If anything, Disney’s castles suggest the world of King Arthur and his.....
