Titlebook: War Representation in British Cinema and Television; From Suez to Thatche Kevin M. Flanagan Book 2019 The Editor(s) (if applicable) and The

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Kevin M. Flanaganement and new left political scene of the 1960s in general. These bear comparison to the intersubjective perspectives explored in the artworks discussed in the previous chapters, and Ouchida’s embedded and chaotic cinema vérité approach in the film adds to this sense of an embodied and visceral interweaving of aesthetics and politics.

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Kevin M. Flanaganle they reveal a longing for an ageless self, a desire to present a consistent, unified identity. The works mirror prevailing social perceptions of the aging process as well as the tensions between chronological age, physiological age, and cultural constructions of age.

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Book 2019evision series and films by directors such as Lone Scherfig and Christopher Nolan. Encompassing everything from features to government information films, the book explores related trends in the British film industry, popular culture, and film criticism, while offering a sense of how these contexts contribute to historical memory..

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Introduction: Toward an Alternative Tradition of War Representation,l stability and consensus whose fraying edges were exposed on-screen. The author introduces the methodologies used throughout the book and provides case studies forecasting the themes of the chapters to come, as well as more detailed descriptions of the chapters themselves.

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,On Screen and at Arm’s Length: Social Class and the Simulation of Combat,rative case study of Richard Attenborough’s . (1969) and Peter Watkins’s . (1970) to demonstrate how these issues were differently represented during the period (and how they applied to both past wars and speculative conflicts).

責(zé)怪

,On Screen and at Arm’s Length: Social Class and the Simulation of Combat,rative case study of Richard Attenborough’s . (1969) and Peter Watkins’s . (1970) to demonstrate how these issues were differently represented during the period (and how they applied to both past wars and speculative conflicts).

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