A speech given by the skinhead Combo in the film This is England (2006) provides the ground for an analysis of far-right nationalism. This article uses Critical Discourse Analysis and the idea of the nation as a discursive construct to explain Combo’s strategies to gain dominance over his gang by means of rhetoric, body language, building up an ethos based on Christian and epic mythologies with ethnic connotations, drawing boundaries, and discrediting and excluding his opponents. These strategies are then compared to those of the UKIP leader Nigel Farage in his “Brexit victory” speech delivered in June 2016, which was based on a mystification of territorial boundaries, symbolic allusions to a defensive war, and a verbal construction of an ideally independent nation and a promising future. Thus, the article argues that analysis of a scene from the film set in the Thatcherite Britain of 1983 can still illuminate the articulation of later nationalist discourses.
una poderosa conjunción de música y narrativa oral en la que ambas se reforzaban para producir una serie de efectos emocionales. También en el teatro la música sirvió a efectos dramáticos, especialmente para evocar lo sagrado en el drama de origen litúrgico, o bien otros tiempos y lugares como el bosque de Arden en el de Shakespeare, basado en ideas medievales del bosque como el de Robin Hood. En la tradición de la balada popular continúa más allá de la Edad Media la asociación entre relato y melodía, hasta que en el siglo xix, coincidiendo con el auge de la novela, se desligan, para volver a unirse definitivamente, junto con las imágenes, en la era del cine. Pero la música del cine de tema medieval apenas tiene que ver con aquella música medieval, salvo en la nostalgia por otro tiempo perdido en un mítico pasado. Palabras clave: medievalismo, música y narración, cultura popular, baladas, cine y música.
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