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Life Is Sweet (1990)

Mike Leigh

Born in Salford, Manchester, in 1943, Mike Leigh has developed a unique method of creating films through controlled improvisations. After his debut Bleak Moments (1971) he made a succession of admired TV plays, including Abigail's Party and Nuts in May. He then returned to feature films: High Hopes (1988), Life is Sweet (1990), Naked (1993). Secrets and Lies won the Palme d'Or at Cannes in 1996. Topsy-Turvy (1999) won two Oscars. All or Nothing followed in 2002. Since then he has made the Oscar-nominated Vera Drake (2004), which won the Golden Lion at the Venice Film Festival, Happy-Go-Lucky (2008) and Another Year (2010). He also did Two Thousand Years for the National Theatre in 2005. Author affiliation details are correct at time of print publication.

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Amy Raphael

Amy Raphael was born in London in 1967. She has worked on The Face, NME, Elle and Esquire and now freelances for the Guardian, the Observer and The Times. Her first book, Never Mind the Bollocks: Women Rewrite Rock, was published by Virago in 1995. She conducted the conversations and edited Mike Leigh on Mike Leigh, which was published by Faber in 2008. She has also contributed to the The Rolling Stone Book of Women in Rock and Perfect Pitch, a series of books about football. Author affiliation details are correct at time of print publication.

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Mike Leigh on Mike Leigh

Faber and Faber, 2008

Book chapter

...Wendy (Alison Steadman), cheerful and energetic, leads a children’s dance class. When she returns home her husband Andy (Jim Broadbent), affable but prone to procrastination, is waiting for her. Her twin daughters Natalie (Claire Skinner...

Seeing in the Dark: Attentive Engagement

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...This chapter proposes a way of approaching ethical understanding through sensitive, intentionally directed perception. In order to establish the value of attentive engagement in the cinema, the discussion moves from arguing for the ethical...

Resistance and Responsiveness: Emotion and Character Engagement

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...Narrative is implicated in ethical life by virtue of its content, form, and structure. In addition, the kinds of interpretive resources stories call into play and the responses they give rise to can also be of ethical significance....

Conclusion: Ethical Transformation

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...As Stanley Cavell's work attests, the most powerful aspect of cinematic experience is what we take with us when we walk out of the movies: the enduring memories, ideas, and insights that we draw from film, which go on to figure in our own...

Ethics in Narrative Form and Content

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...This chapter uses Tim Robbins’ 1995 film Dead Man Walking to illustrate connections between narrative and ethics, beginning with an appraisal of the ethical content of narratives, considering the different ways in which stories can...

Intersubjective Perception: Phenomenology, Embodiment, and Evaluation

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...Beginning by building an appreciation of the place of cinematic narratives into the work on narrative and ethics dealt with above, this chapter moves on to address film from a phenomenological perspective. Drawing on existential...

Losing the Plot: Narrative Structure and Ethical Identity

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...This chapter questions the role of narration in understanding ourselves and our interactions with others. Like its sister Mulholland Drive (2001), the film Lost Highway (David Lynch, 1997) raises questions of personal identity...

Imagination: Inner Sight and Silent Voices

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...Imagination has a significant place in ethical understanding and ethical deliberation in terms of the construction of and engagement with narratives. We require a theory of imagination that is generous enough to encompass the term's rich...

Under the Influence: Vice, Violence, and Villainy

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...Debates about media ethics and the negative influence of screen texts are frequently staged in terms of representation (often in the context of mis-representation, stereotyping, and identity politics), or in terms of the perception...

Introduction

Jane Stadler

Jane Stadler is Senior Lecturer in Film and Television at the School of English, Media Studies, and Art History at the University of Queensland. She is co-editor of Pockets of Change (with Tricia Hopton, Adam Atkinson, and Peta Mitchell, 2011), co-author of Media and Society (with Michael O'Shaughnessy, 2012) and Screen Media (with Kelly McWilliam, 2009), and has published journal articles on phenomenology, ethics, aesthetics, identity, and screen landscapes. Author affiliation details are correct at time of print publication.

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Pulling Focus : Intersubjective Experience, Narrative Film, and Ethics

Continuum, 2008

Book chapter

...Eternal Sunshine of the Spotless Mind: Closing image of Joel and Clementine on Montauk beach.The closing image of Eternal Sunshine of the Spotless Mind (Gondry, 2004) shows Joel and Clementine running along the frosty Montauk beach, playing...