Titlebook: Hybrid Heritage on Screen; The ‘Raj Revival’ in Elena Oliete-Aldea Book 2015 Elena Oliete-Aldea 2015 Raj revival films.British Raj.heritage

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Britain in the 1980s: The Thatcher Decade,t passions — had an indigenous version in Britain throughout the so-called ‘Thatcher decade’. From the mid-twentieth century onwards, Britain had to undergo the ‘trauma of decolonisation’ and its gradual, often painful, adaptation to a new postcolonial and globalised world, which resulted in several

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British Cinema and the Raj Revival,hich combined forward-looking economic policies with a backward-looking ideology. In Kevin Robins’ view, the revival of interest in the past is not an exclusive feature of British society, but something which has to do with the nature of globalisation itself (2001: 29). Accordingly, Robins indicates

Engaging

,‘On Heroes’: Bapu Goes West, shares some formal and narrative characteristics with subsequent Raj films of the decade, . presents significant variants. The most obvious feature that distinguishes Attenborough’s film from the other Raj productions is that it is based on actual historical events, not on literary fictions. While,

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History in Literary Adaptations,nce lies in the fact that academic history makes abstractions, and labels certain events or periods — for instance, ‘The Renaissance’, ‘the French Revolution’. Such tags and categorisations, he argues, tend to conceal as much as they reveal about the past: ‘Unlike the word, the filmic image cannot a

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The Raj on TV,king back on British screens. Not only was . being shown in cinemas, but the box-office hit, Spielberg’s US American production ., set in India, was released in June the very same year. Lean’s extremely successful portrayal of India was paralleled by no less thriving literary adaptations of the impe

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