Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Media Lab, and a range of films authored in a participatory manner, as possible ‘indigenous media’ projects of the 1980s, and the ethnographic films thatįlourished on British television until the 1990s.Įxamines the recent films of David and Judith MacDougall, the Harvard Sensory Well as the emergence of Observational Cinema in the 1970s. Post-war period, he discusses Jean Rouch, John Marshall and Robert Gardner, as In visual anthropology as well as to those previously unfamiliar withĪmong the early genres that Paul Henley discusses areįrench reportage films, the Soviet kulturfilm, the US travelogue, the classicĭocumentaries of Robert Flaherty and Basil Wright, as well as the more academicįilms of Margaret Mead and Gregory Bateson. Historical account of its kind and will be accessible to students and lecturers In a broad range of styles, in many different parts of the world, from theĪrctic to Africa, from urban China to rural Vermont. When word spread about the love affair, the main character was looked at differently and her mother warned her that no one in the town would marry her.Beyond Observation offers a historical analysis of ethnographic film from It is very clear that they do not respect him, even though he is of a higher social class. As much as the lover tries to get the family to like him he is gawked by the older brother, and is rudely treated by the mother. Race is a very important factor in this relationship. Due to the fact that her lover is Chinese, and older, her mother is comforted, in a sense, at the fact that she is only dating a Chinese man for his money. When Duras tells her mother that her relationship is only about the money, her mother seems relieved. The love affair shows the importance of money. Although people are categorized and judged by their race and social class, the love affair illustrates that people can make exceptions for other races as long as they are from a high social class. It is odd to see the role of race and social class. People of the higher class were more respected and were thought of as superior. Money meant security, and power. In the novel, Duras mentions that she is only in the relationship for the money. Race and social class were very important in the 1930’s. Her family is almost accepting of the affair because he has money, but they do not accept that him because of his race. Besides the man being much older than her, he is also apart of a higher social class and a different race.
In Marguerite Duras’s novel, The Lover, there is an obvious strain put between the love affair. How does Duras portray race and social class?