MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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The White House of horrors
DAVID YEARSLEY muses on the State Department’s use of film to project US power
AVIATOR COMPLEX: Joe Biden and Disney+ actress Olivia Rodrigo in the Oval Office
[The White House/CC]
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
What’s the difference between a US movie producer and a US secretary of state? The one dreams of winning an Oscar, the other makes sure the awards go to the right global players.
US foreign policy has long been committed to flooding the world with Hollywood films. Inseparable from this open market ideology is the recognition of the moving image’s literal projection of US power and the universal rightness of the US Way.
Winston Churchill paid homage to these forces when he described Mrs Miniver, that silly Little Olde England wartime MGM melodrama of 1942, as “propaganda worth a hundred battleships.”
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