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The notable commercial and critical success of the four James Bond films made with actor Daniel Craig playing the lead role-Casino Royale (Martin Campbell, GB/Cze/USA/Ger/Bah, 2006), Quantum of Solace (Marc Forster, GB/USA, 2008), Skyfall (Sam Mendes, GB/USA, 2012) and Spectre (Sam Mendes, GB/USA, 2015)has, over the past decade, provoked a sustained increase in the amount of academic commentary and debate around the Bond character, his fictional universe and multimedia incarnations. Working from the premise that Spectre knowingly advertises itself as a possible conclusion to the Craig era, this article attempts to identify and discuss a range of key thematic trends in Bond filmmaking (and Bond criticism) in the years since Casino Royale. Such themes include: enhanced attention to the fictional spy's body as a producer of textual and popular cultural meaning; Bond's complex relationship with evolving ideas of British national identity and state structures; the questionable extent to which the Craig Bond films constitute a meaningful revision of the 007 film franchise's traditional aesthetic and thematic defining characteristics.
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The international success of Ari Folman’s Waltz with Bashir (2008) saw this work routinely defined and discussed as the first feature-length example of animated documentary cinema. This chapter analyses Folman’s film and the multidisciplinary body of scholarly response that it has provoked. Much response to Folman’s film evaluates it in isolation and speculates more ambitiously on animated documentary’s possible aesthetic, conceptual and ethical strengths and weaknesses as a distinctive mode of audio-visual practice. This chapter’s analysis of Folman’s film likewise identifies defining formal and thematic characteristics that drive the contemporary turn towards animated documentary filmmaking more generally. This chapter also identifies several main evolving concepts and debates that characterise animated documentary scholarship as a distinctive subset of Animation Studies and Film Studies. Finally, this chapter also identifies other academic disciplines – such as Memory Studies and Trauma Studies – within which significant discussion of animated documentary is also taking place.
Give a dog a boneCitation for published version: Murray, J 2013, 'Give a dog a bone: representations of Scotland in the popular genre cinema of Neil Marshall', Visual Studies, vol. 28, no. 3, pp. AbstractThe best-known and most influential cinematic image of Scotland is that which constructs the country as the civilised modern world's northern boundary and ideological antithesis. This historically venerable representational tradition incorporates Brigadoon (Vincente Minnelli, USA, 1954), Brave (Mark Andrews/Brenda Chapman/Steve Purcell, USA, 2012) and much else in between. The following essay examines what is perhaps the most explicit and extended twenty-first-century manifestation to date of Scotland's classic celluloid stereotype: the oeuvre of British popular genre filmmaker Neil Marshall. Analysis of this director's Scottish trilogy -Dog Soldiers (GB/Lux/USA, 2002), Doomsday (GB/USA/SA/Ger, 2008), and Centurion (GB/Fr, 2010) -suggests not simply the historical persistence of a particular cultural representation of a particular national culture and identity, but also the varied, and often non-nationally specific, thematic uses to which Scottish cinematic stereotypes can be and are put. That conclusion suggests a number of possible future directions for Scottish cinema criticism more generally. Firstly, the need for a more inclusive critical engagement with popular genre cinema, a hitherto under-examined area with the study of Scotland's relationship with the moving image. Secondly, the extent to which critics might usefully approach Scottish-set and -themed cinema in a more multifaceted manner than has frequently been the case in historical terms. Neil Marshall's oeuvre exemplifies the complex interplay of nationally and non-nationally specific images and ideas that exist within many popular filmic representations of Scotland.
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