23 December 2015

Four Films That Capture The Nightmare Of Christmas

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By Bruce Bennett, Lancaster University

Forgive me, I’m about to go all Scrooge. Christmas, you see, is a particularly grim time of year. Rolling around with grinding, Groundhog Day relentlessness, it is an interval of dark days and long nights, bad music, kitsch clothing and decor, enforced jollity, stilted family gatherings, hyper-commercialism, over-consumption and tiresome end-of-year round-up articles.

But there’s no escape. As is demonstrated by Christmas with the Kranks (2004), in which a couple decide to avoid Christmas by going on a Caribbean holiday only to find themselves shunned by their appalled neighbours and children, participation in this ritual is mandatory.

And it drags on, too. As folk-singer, Loudon Wainwright III observes in Suddenly It’s Christmas, the joy lasts for weeks:
When they say “Season’s greetings” They mean just what they say:
It’s a season, it’s a marathon,
Retail eternity.
The Christmas film is almost as old as the medium of cinema itself – there are hundreds of them. Perhaps the first, by Brighton film-maker George Smith, dates from 1898. Few truly capture the real spirit of Christmas, but here are four that do.

21 December 2015

Could A Truth Commission Have Saved The Star Wars Universe From Another Conflict?

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If only Desmond Tutu were here… Lucasfilm
By James Sweeney, Lancaster University

A brutal regime is at last brought to its knees, its key leaders start fighting among themselves, and the old tyrant is killed without trial. Libya in 2011? No: the world of Star Wars at the close of Return of the Jedi.

The latest film, Star Wars: The Force Awakens was released last week (in case you hadn’t noticed). It is set in precisely the sort of conflicted environment that we see when contemporary totalitarian regimes collapse, be it the former Soviet Union, Afghanistan, Iraq, Libya or Egypt.

18 December 2015

How Star Wars' Famous Title Sequence Survived Imperial Assaults

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‘A long time ago …’
By Iain Macdonald, Edinburgh Napier University
At the beginning of the Star Wars movies, that famous typographic walkway has always been essential to the experience. It both echoed the silent movie era and was filled with futuristic vision. How thrillingly disorientating to read “A long time ago …” while looking out at what was not yet possible.
The great cinematic graphic designer Saul Bass once said that he “saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it”. Star Wars is one of the great examples of what he was talking about. Not surprisingly, it reappeared in all subsequent instalments. Yet the fact that no one has managed to wreck it along the way was by no means a sure thing.

A Force Awakened: Why So Many Find Meaning In Star Wars

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Mark Hamill as Luke Skywalker in Star Wars: Episode IV – A New Hope. 20th Century Fox
By Patti McCarthy, University of the Pacific

After witnessing the overwhelming popularity of Star Wars, director Francis Ford Coppola told George Lucas he should start his own religion.

Lucas laughed him off, but Coppola may have been onto something.

Indeed, the Star Wars saga taps into the very storytelling devices that have structured myths and religious tales for centuries. And with every new film, fans are able to reinforce their unique communities in a world that has grown, in many ways, increasingly isolated.

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