For some time now, I have been among those who have argued that the fandom associated with the Star Wars franchise is akin to a religion. There are those who will quarrel with the word choice, but it is hard to gainsay the dedication of fans to the original films
London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill.
Nowhere is media’s influence on social attitudes more evident than among the millions of fans following Star Wars. Decades after the franchise’s creator, George Lucas, made his first iteration of the fictional galaxy filled with aliens, Stormtroopers, and the Force, his vision has captivated fans with countless iconic moments.
The Big Picture and The Big Short: How Virtue helps us explain something as complex as the Financial Crisis
The star-studded new film The Big Short is based on Michael Lewis’s best-selling expose of the 2008 financial crisis. Reviewers are calling it the “ultimate feel-furious movie about Wall Street.” It emphasizes the oddball and maverick character of four mid-level hedge fund managers in order to explain what it would take to ignore the rating agencies’ evaluations and bet against the subprime industry—that is, their own industry.
Todd Haynes’ new film Carol is an adaptation of Patricia Highsmith’s semi-autobiographical novel The Price of Salt, first published in 1952 under the pseudonym Claire Morgan. Daring for its time, the novel depicts a passionate lesbian romance between Carol Aird (Cate Blanchett), a well-off middle-aged New Jersey housewife divorcing her husband, and nineteen-year-old Therese Belivet (Rooney Mara), who works as a department store salesclerk.
‘What connexion can there be between the place in Lincolnshire, the house in town, the Mercury in powder, and the whereabouts of Jo the outlaw with the broom,’ asks Dickens’s narrator in Bleak House. As the novel develops, it offers various possible answers, including disease, family, money, and friendship.
People often find their interest in a cause awakened by a dramatization on stage, screen, between the pages of a book or, these days, on YouTube. This fall, Americans are learning about the highly dramatic battle in Britain to win the vote for women.
Say you wanted to take over the world—how would you do it? Let’s agree it looks much like the world we live in today, where some countries hold inordinate power over the lives of people in others; where global systematic racism, the shameful legacy of colonization and imperialism, has contrived to keep many humans poor and struggling.
When the late Ken Harper first began pitching his idea for a show featuring an all black cast that would repeat and revise the popular plot of L. Frank Baum’s The Wonderful Wizard of Oz, augmenting it with a Hitsville USA-inspired score, he had television in his sights.
How many children had Lady Macbeth? The great Shakespearean critic L. C. Knights asked this question in 1933, as part of an essay intended to put paid to scholarship that treated Shakespeare’s characters as real, living people, and not as fictional beings completely dependent upon, and bounded by, the creative works of which they were a part.
The final installment of The Hunger Games films (Mockingjay: Part Two) has been released. Amidst the acres of coverage about Jennifer Lawrence, the on-screen violence (is it appropriate for twelve year-olds?) and an apparently patchy and unconvincing ending, it is worth pausing to consider the apocalyptic nature of the franchise.
To celebrate the new BBC Radio Four adaptation of the French writer Émile Zola’s, ‘Rougon-Macquart’ cycle, we have looked at the extraordinary life and work of one of the great nineteenth century novelists.
Not so long ago, we ‘went to the pictures’ (or ‘the movies’) and now they tend to come to us. For many people, visiting a cinema to see films is no longer their principal means of access to the work of film-makers. But however we see them, it’s the seeing as much as the hearing of Shakespeare in this medium that counts. Or rather, it’s the interplay between the two.
The start of a film version of a Shakespeare play offers a pretty good clue to the nature of the adaptation. So how, for instance, does Richard II begin? In one sense it begins like this…
The durable Bond is back once more in Spectre. Little has changed and there has even been reversion. M has back-morphed into a man, Judi Dench giving way to Ralph Fiennes. 007 still works miracles, and not the least of these is financial – Pinewood Studios hope for another blockbuster movie. Hollywood roll over and die.
It is said in the domestic practice of law that the facts are sometimes more important than the law. Advocates often win and lose cases on their facts, despite the perception that the law’s formalism and abstraction are to blame for its failures with regards to delivering justice.