In On Burnley Road: Class, Race and Politics in a Northern English Town, Mike Maikin-Waite, an officer for Burnley Council between 1995 and 2018, develops a personally inflected local history explo...
Quentin Skinner, reed-like, in acid soil
When Diana was killed in a car crash in August 1997, my dad drove our family to the beach in Eastbourne. It was windy and empty of people, and we sat for hours without television coverage or phone reception. This was the point: my dad was determined to avoid the outpour of Royalist sentiment surrounding the event.
In the latest print edition of Another Gaze (Issue 05), I wrote about the abolition of the nuclear family, futurity and apocalypse in Jan Schmidt's The End of August at the Hotel Ozone (1967), drawing on the work of Sophie Lewis, Marx and Sianne Ngai.
"That's the way I work: I try to imagine what I would like to see," said Sofia Coppola in an interview with The New York Times in 2003.
How do you represent the prison system cinematically? A certain syntax of images springs to mind: a concrete wall, coils of barbed wire, or hands clasped behind iron bars, as seen in documentaries such as Louis Theroux's Behind Bars (2008) or Reggie Yates's The Insider: Inside a Texas Jail (2016).
If the radical potential of adaptation lies in its ability to harness the energy of an established text for new purpose, how much can it compromise, alter, or deny in pursuit of this goal? Greta Gerwig's adaptation of Louisa May Alcott's Little Women (re)presents the themes of the original - family, morality, marriage and creativity - in full period glory.
Who guards the guards? Questions of oversight and accountability are at the centre of Scott Z. Burns' The Report, based on the real-life creation of the Senate Select Committee report on C.I.A. and U.S. government use of torture. The film follows Daniel Jones (Adam Driver), a Senate staffer, who leads the seven-year investigation into abuses following 9/11.
By focusing on personalities at the cost of structural issues, 'Official Secrets' ignores too much of the ideological and structural paradigms behind the Iraq War, writes Georgie Carr. Can one woman stop a war? Official Secrets follows the real-life story of Katherine Gun (Keira Knightley), a GCHQ intelligence operative who blew the whistle on an NSA directive to spy on U.N.
In an interview in 1968 Pasolini described going especially from Casarsa to Udine to see Vittorio De Sica's 'The Bicycle Thieves' (1948) which, along with Roberto Rosselini's 'Rome, Open City' (1945) was "a real trauma that I still remember with emotion".
What is motherhood? Maura Delpero's 'Maternal' ('Hogar', 2019) shows a world in which two paradigms of maternity - the single mother and the Holy Mother - clash. Set within the curfewed walls of a Buenos Aires hogar, an Italian religious home for young single mothers, the film follows three women:
How can cinema show social reproduction? Yoon Sung-A's documentary Overseas (2019), focuses on a training centre for overseas domestic workers in the Philippines. Trainees learn silver service, childcare and cleaning methods. They are also taught ways to suppress homesickness, fend off violence and sexual assault - techniques necessary for surviving life as an Overseas Filipino Worker - 'OFW', for short.
Sophie Deraspe's film adaptation of Sophocles' updates the central themes of the original - family, exile, state power and sacrifice - to reflect the struggles of a family of first generation Algerian immigrants in Montreal as they negotiate the many violences of police racism, the criminal justice system and gang culture.
The title of Florian Henckel von Donnersmarck's 'Never Look Away' (2018) is an imperative: don't look away from art, evil, joy or history. The film follows the life of Kurt Barnet (Tom Schilling) as he grows up in nazi Germany and Communist Dresden, engaging directly with the horrors of the era..
The central premise of Detective Pikachu is simple and disquieting. Pikachu - the sweet, yellow, fluffy Pokémon who can shoot electricity from his body - has become a cop.