I am Professor of Film Philosophy at Queen Mary University of London. My two main fields of research are feminist film-philosophy and film stardom. I am currently bringing them together in a series of projects: a monograph on stardom and philosophy, an anthology of Feminist Film Philosophy, and chapters on Tippi Hedren, Jean Seberg, and Charlie's Angels. Special interests: phenomenology, costume, feminist philosophy, Iris Murdoch, Virginia Woolf, Hollywood stardom.
Lasting Screen Stars: Images that Fade and Personas that Endure, 2015
TABLE OF CONTENTS
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bach... more TABLE OF CONTENTS
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’
Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’
Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pal Javor’
Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’
Section 2: Faded Stardom
Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’
Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’
Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’
Section 3: Ageing
Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’ Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’ Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’
Section 4: Posthumous Stardom
Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’
Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’
Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’
Section 5: Characters, Series and Types
Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’
Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’
Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’
Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’
Section 6: Reflections Beyond the Screen
Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’
Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’
Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’
Contemporary Cinema and the Philosophy of Iris Murdoch, 2019
Contemporary Cinema and the Philosophy of Iris Murdoch
Lucy Bolton
Table of Contents
Acknow... more Contemporary Cinema and the Philosophy of Iris Murdoch
Lucy Bolton
Table of Contents
Acknowledgements Abbreviations List of illustrations Chapter 1 Introduction Chapter 2 Film as art Chapter 3 Film as a moral fable Chapter 4 Film and the existential hero(ine) Chapter 5 Film, love and goodness Chapter 6 Film, comedy and tragedy Chapter 7 Film and women Chapter 8 Film and philosophy
This chapter considers the array of representations of Mary Magdalene on the cinema screen betwee... more This chapter considers the array of representations of Mary Magdalene on the cinema screen between 1912 and 2022. The survey shows the perennial fascination with the sexuality of Mary Magdalene and the range of stereotypes and assumptions that the cinema perpetuated in popular culture. Ranging from early cinema, through the “swords and sandals” epics, and into television movies and miniseries, the popularity of Mary Magdalene has remained strong and the allure of her persona has persisted. Acknowledging the impact of The Da Vinci Code phenomenon on the reputation of the Magdalene, the chapter considers the ourish in nonction lms and documentaries about the alleged mysteries and conspiracies that have abounded in the last twenty years, as well as discusses the scholarship devoted to Mary Magdalene that has led to more critical and serious reappraisals. The chapter considers the lms Mary Magdalene and Magdala, both of which have responded to these new perceptions about the apostle to the apostles and oered profoundly original and spiritual encounters with the enduringly fascinating Mary Magdalene.
This is a chapter on Leigh's film performances, from the book Vivien Leigh Actress and Icon, edi... more This is a chapter on Leigh's film performances, from the book Vivien Leigh Actress and Icon, edited by Kate Dorney and Maggie Gale (Manchester University Press, 2017)
Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions o... more Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as " a more systematic and reflective extension of what ordinary moral agents are continually doing ". Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch and Margaret (Kenneth Lonergan, 2011) together in an exploration of the moral decision making of the film's protagonist and our assessment of her choices, we can learn more about the idea of film as a morally important fable rather than a fable that is purely decorative.
Lasting Screen Stars: Images that Fade and Personas that Endure, 2015
TABLE OF CONTENTS
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bach... more TABLE OF CONTENTS
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’
Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’
Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pal Javor’
Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’
Section 2: Faded Stardom
Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’
Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’
Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’
Section 3: Ageing
Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’ Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’ Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’
Section 4: Posthumous Stardom
Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’
Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’
Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’
Section 5: Characters, Series and Types
Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’
Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’
Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’
Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’
Section 6: Reflections Beyond the Screen
Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’
Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’
Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’
Contemporary Cinema and the Philosophy of Iris Murdoch, 2019
Contemporary Cinema and the Philosophy of Iris Murdoch
Lucy Bolton
Table of Contents
Acknow... more Contemporary Cinema and the Philosophy of Iris Murdoch
Lucy Bolton
Table of Contents
Acknowledgements Abbreviations List of illustrations Chapter 1 Introduction Chapter 2 Film as art Chapter 3 Film as a moral fable Chapter 4 Film and the existential hero(ine) Chapter 5 Film, love and goodness Chapter 6 Film, comedy and tragedy Chapter 7 Film and women Chapter 8 Film and philosophy
This chapter considers the array of representations of Mary Magdalene on the cinema screen betwee... more This chapter considers the array of representations of Mary Magdalene on the cinema screen between 1912 and 2022. The survey shows the perennial fascination with the sexuality of Mary Magdalene and the range of stereotypes and assumptions that the cinema perpetuated in popular culture. Ranging from early cinema, through the “swords and sandals” epics, and into television movies and miniseries, the popularity of Mary Magdalene has remained strong and the allure of her persona has persisted. Acknowledging the impact of The Da Vinci Code phenomenon on the reputation of the Magdalene, the chapter considers the ourish in nonction lms and documentaries about the alleged mysteries and conspiracies that have abounded in the last twenty years, as well as discusses the scholarship devoted to Mary Magdalene that has led to more critical and serious reappraisals. The chapter considers the lms Mary Magdalene and Magdala, both of which have responded to these new perceptions about the apostle to the apostles and oered profoundly original and spiritual encounters with the enduringly fascinating Mary Magdalene.
This is a chapter on Leigh's film performances, from the book Vivien Leigh Actress and Icon, edi... more This is a chapter on Leigh's film performances, from the book Vivien Leigh Actress and Icon, edited by Kate Dorney and Maggie Gale (Manchester University Press, 2017)
Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions o... more Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as " a more systematic and reflective extension of what ordinary moral agents are continually doing ". Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch and Margaret (Kenneth Lonergan, 2011) together in an exploration of the moral decision making of the film's protagonist and our assessment of her choices, we can learn more about the idea of film as a morally important fable rather than a fable that is purely decorative.
... Denise Tischler Millstein discusses Lord Byron in terms of public and private lives, adulatio... more ... Denise Tischler Millstein discusses Lord Byron in terms of public and private lives, adulation ('Byromania'), parody and rejection, and thereby demonstrates the functioning of a Dyeresque 'structured polysemy' (1979, p. 3) in nineteenth-century England. ...
... Denise Tischler Millstein discusses Lord Byron in terms of public and private lives, adulatio... more ... Denise Tischler Millstein discusses Lord Byron in terms of public and private lives, adulation ('Byromania'), parody and rejection, and thereby demonstrates the functioning of a Dyeresque 'structured polysemy' (1979, p. 3) in nineteenth-century England. ...
Bolton, Lucy (2007) Review: Christopher Falzon (2007) Philosophy Goes to the Movies: An Introduct... more Bolton, Lucy (2007) Review: Christopher Falzon (2007) Philosophy Goes to the Movies: An Introduction to Philosophy (Second Edition). Film-Philosophy, vol. 11, no. 3: pp. 132-137. <http://www.film-philosophy.com/2007v11n3/bolton.pdf>. ISSN: 1466-4615 online ... Review: Christopher ...
Marnie (1964, Alfred Hitchcock) is a film about sex and crime; in particular, about ‘the sexual a... more Marnie (1964, Alfred Hitchcock) is a film about sex and crime; in particular, about ‘the sexual aberrations of the criminal female’, according to the title of the book Mark Rutland reads to try to understand his new wife. The conduct of said criminal female, Margaret Edgar, Marion Holland, or just plain Marnie, is based on feminine masquerade and an aesthetics of what Michele Montrelay might call ‘dotty objects’: gloves, purses, handbags, nail files, hair combs, stockings and – most significantly – shoes. This chapter demonstrates the film’s deployment of shoes as a trope of Marnie’s identity, and explore how they symbolise different sides to Marnie at stages in her story. In so doing, the film imbues feminine artifice with significance and stature, enabling Marnie’s identity to be explored by elements of the mise-en-scene that might ordinarily be considered simply decorative.
In this chapter I will consider the representation of the consciousness and subjectivity of the e... more In this chapter I will consider the representation of the consciousness and subjectivity of the eponymous heroines of Marnie (Alfred Hitchcock, 1964) and Morvern Callar (Lynne Ramsay, 2002). There has been a vast amount of critical writing on Hitchcock and Marnie, much of which focuses on the treatment of women, and the representation of mothers in particular.1 The basis of my comparison between Marnie and Morvern Callar is the way in which both films engage with sensory experience in order to access the psychological processes of their law-breaking female protagonists. Both films use tactility and detail, silence and solitude in the creation of the studies of their heroines; however, the purposes and trajectories of the representations are significantly different, as an Irigarayan analysis will demonstrate. Marnie centres on the demystification and possible recuperation of a criminally and sexually ‘aberrant female’ (as the title of the book read by Mark Rutland suggests). Morvern Callar is less an attempt to understand Morvern than simply time spent with her, as she covers the traces of her boyfriend’s suicide and moves away, physically and emotionally, from all the things that define her. There are also similarities in narrative and character that provoke logical comparisons between the two films.
These two books on Potter together form a comprehensive appraisal of her work, each one compensat... more These two books on Potter together form a comprehensive appraisal of her work, each one compensating for any shortcomings in the other. Catherine Fowler&amp;#x27;s volume in the Contemporary Film Directors series (edited by James Naremore) sees the welcome inclusion of Potter alongside ...
Journal of Contemporary European Studies, Sep 1, 2013
The book rather proves the opposite, however; genuine riots are triggered for much the same limit... more The book rather proves the opposite, however; genuine riots are triggered for much the same limited number of reasons as they have always done – industrial strife, conflict between left and right on issues of race, or sexuality, and opposition to controversial government policies. What is new is the use of ‘social media’, which can be exploited to organise mass support within hours, sometimes briefly outwitting police intelligence responses. Many of the instances described at length by Bloom are not riots, but mass marches and peaceful demonstrations, such as the London march against the Iraq war, when three million people wended their way through the West End with virtually no trouble; but, as the author describes, small groups of extremists have learned to piggy-back these entirely lawful occasions and stage a breakaway raid on a pre-determined target, bent on violence. Even the potential for trouble arising from English Defence League marches against immigration being broken up by leftists is not new; it is simply a pale reflection of the Moselyite marches through the Jewish quarters of the East End when many heads were broken on a nightly basis. It is clear that the author’s determination to present a picture of imminent chaos, of a crisis of public order and unprecedented threat, fails. In the absence of any attempt at scholarly analysis of the many aspects of organised protest, or to theorise the social origins of dissent, he is reduced to use phrases such as ‘There is another London, hiding behind the Olympics, the jubilee, the palaces and the stadium – the London of riot and rebellion’ (126), which simply over-dramatises his story and does nothing to support his argument. Almost in desperation, lone protesters such as Brian Haw, who sat in splendid isolation outside Parliament for a decade, are brought in to support the picture of social chaos on the streets! The lone swimmer who obstructed the 2012 University boat race succeeded only in getting wet. Similarly, a rather drawn-out eviction of Irish travellers in Basildon in 2012 never produced anything like a riot. Perhaps the one merit of this volume is that it provides a chronological catalogue of a multitude of public responses to State power, most of which have been valuable and necessary means of ‘letting off steam’ as part of a flexible democratic process. As such, it will be a useful resource to anyone who wishes to undertake a genuinely academic study of what is, of course, a fascinating aspect of contemporary British society. Any such researcher will probably be hard put to explain how, in the middle of acute economic recession, there was so little demonstrable unrest, when many cities in Europe really did have serious riots.
In October 2009, David Cameron, then leader of the Opposition, attempted to persuade voters to en... more In October 2009, David Cameron, then leader of the Opposition, attempted to persuade voters to entrust him to help mend Britain’s broken society.1 The elements of his Conservative party’s discourse of “broken Britain” consist of single mothers, poor education, anti-social behavior, alcohol abuse, teenage sex, and lack of employment. This is the world of Fish Tank: a depiction of contemporary Essex housing-estate culture, in which 15-year-old Mia “swims frustrated circles, like a shark in a tank.”2 Mia is played by amateur actor Katie Jarvis, and her sullenness and rage are the beating heart of the film. Fish Tank may appear to suggest that Mia is a prime example of contemporary broken British culture, but it is a shot across the bows of such misperceptions, announcing that girls like Mia should not be dismissed or underestimated. The film achieves this by creating Mia’s very particular experiences at this pivotal point in her young life, and evoking the rhythms and relationships of this 15-year-old girl in her place in contemporary British society.
The star image of Melanie Griffith is centered on vulgarity and excess, created by her film roles... more The star image of Melanie Griffith is centered on vulgarity and excess, created by her film roles in the 1980s, elements of her physicality and her off-screen life, and that this has led to connotations of cheapness, artifice, and ageing disgracefully. But it is also founded on female genealogy and resilience, with a strong streak of childish rebellion, which marks Griffith out as a uniquely complex and contradictory ageing woman in Hollywood.
In this final chapter, I want to consider how the ways in which I have used Irigaray in close fil... more In this final chapter, I want to consider how the ways in which I have used Irigaray in close film analysis also have implications for the areas of authorship and spectatorship. The older films that I have analysed in this book were all directed by men, and the recent films by women: each director is spoken of by critics and scholars in terms of their status as auteurs, to greater or lesser extents. It is important therefore to assess the field of authorship in two particular respects: the nature of ownership, or the ‘signing off’ of a work (can we speak of In the Cut as a ‘Jane Campion film’, and what does it mean to do so?), and the impact of gender on the question of authorship (does gender matter, and how can one assess the impact of gender on the collaborative filmmaking process?). With regard to spectatorship, I have already raised the ‘different kind of looking’ and ‘engaged reading’ which Irigaray calls for. In this chapter I will consider how these relate to theoretical perspectives on spectatorship, and suggest the possibilities an Irigarayan approach offers for this field.
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Books by Lucy Bolton
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’
Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’
Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pal Javor’
Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’
Section 2: Faded Stardom
Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’
Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’
Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’
Section 3: Ageing
Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’
Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’
Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’
Section 4: Posthumous Stardom
Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’
Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’
Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’
Section 5: Characters, Series and Types
Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’
Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’
Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’
Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’
Section 6: Reflections Beyond the Screen
Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’
Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’
Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’
Lucy Bolton
Table of Contents
Acknowledgements
Abbreviations
List of illustrations
Chapter 1 Introduction
Chapter 2 Film as art
Chapter 3 Film as a moral fable
Chapter 4 Film and the existential hero(ine)
Chapter 5 Film, love and goodness
Chapter 6 Film, comedy and tragedy
Chapter 7 Film and women
Chapter 8 Film and philosophy
Bibliography, filmography, index
Papers, articles and chapters by Lucy Bolton
1912 and 2022. The survey shows the perennial fascination with the sexuality of Mary Magdalene and
the range of stereotypes and assumptions that the cinema perpetuated in popular culture. Ranging
from early cinema, through the “swords and sandals” epics, and into television movies and miniseries,
the popularity of Mary Magdalene has remained strong and the allure of her persona has persisted.
Acknowledging the impact of The Da Vinci Code phenomenon on the reputation of the Magdalene, the
chapter considers the ourish in nonction lms and documentaries about the alleged mysteries and
conspiracies that have abounded in the last twenty years, as well as discusses the scholarship devoted
to Mary Magdalene that has led to more critical and serious reappraisals. The chapter considers the
lms Mary Magdalene and Magdala, both of which have responded to these new perceptions about the
apostle to the apostles and oered profoundly original and spiritual encounters with the enduringly
fascinating Mary Magdalene.
Section 1: Lasting Stardom
Aparna Sharma, ‘From Angry Young Man to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’
Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’
Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pal Javor’
Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’
Section 2: Faded Stardom
Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’
Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’
Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’
Section 3: Ageing
Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’
Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’
Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’
Section 4: Posthumous Stardom
Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’
Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’
Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’
Section 5: Characters, Series and Types
Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’
Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’
Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’
Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’
Section 6: Reflections Beyond the Screen
Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’
Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’
Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’
Lucy Bolton
Table of Contents
Acknowledgements
Abbreviations
List of illustrations
Chapter 1 Introduction
Chapter 2 Film as art
Chapter 3 Film as a moral fable
Chapter 4 Film and the existential hero(ine)
Chapter 5 Film, love and goodness
Chapter 6 Film, comedy and tragedy
Chapter 7 Film and women
Chapter 8 Film and philosophy
Bibliography, filmography, index
1912 and 2022. The survey shows the perennial fascination with the sexuality of Mary Magdalene and
the range of stereotypes and assumptions that the cinema perpetuated in popular culture. Ranging
from early cinema, through the “swords and sandals” epics, and into television movies and miniseries,
the popularity of Mary Magdalene has remained strong and the allure of her persona has persisted.
Acknowledging the impact of The Da Vinci Code phenomenon on the reputation of the Magdalene, the
chapter considers the ourish in nonction lms and documentaries about the alleged mysteries and
conspiracies that have abounded in the last twenty years, as well as discusses the scholarship devoted
to Mary Magdalene that has led to more critical and serious reappraisals. The chapter considers the
lms Mary Magdalene and Magdala, both of which have responded to these new perceptions about the
apostle to the apostles and oered profoundly original and spiritual encounters with the enduringly
fascinating Mary Magdalene.