<?xml version="1.0" encoding="UTF-8"?><lom xmlns="http://ltsc.ieee.org/xsd/LOM" xmlns:lomfr="http://www.lom-fr.fr/xsd/LOMFR" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://ltsc.ieee.org/xsd/LOM http://www.lom-fr.fr/xsd/lomfrv1.0/std/lomfr.xsd">
<general>
<identifier>
<catalog>Canal-U_Ocms</catalog>
<entry>55917</entry>
</identifier>
<title><string language="fre"><![CDATA[04 - Images de la ville postindustrielle anglophone - Philipp Drummond et Leland Tracy]]></string></title>
<language>ENG</language>
<description>
<string language="fre"><![CDATA[Philipp Drummond - The Cinematic North of England: Post-Industrial Identities in The Full Monty and Brassed Off
If London was the key hub of the British
Empire as it waxed and waned between 1600 and the mid-20th Century, its engine room was
the North of England, the birthplace of the global Industrial Revolution, with
the discovery of steam-power, the rise of the factory and railway systems, and
the growth of the powerful twin industries of coal and steel. The collieries of
Yorkshire, with the steel city of Sheffield at their heart, were fundamental to
these developments, and it is here that the recent effects of
de-industrialisation were most sharply felt as these industries were eventually
destroyed by the forces of political change and globalisation.
This
Paper considers British Cinema’s wider representations of Yorkshire – with its
characteristic tensions between industrial urbanism and the beauties of rural
nature – and of ‘the North’ in general in its various socio-political
differences from the all-powerful ‘South’. Analysis is focussed on two richly
symptomatic feature films of the later 1990s, poignant social comedies which
chronicle the impact of these changes, and the new personal, social and spatial
identities to which they gave rise. 
In
Mark Herman’s Brassed Off (1996),
Yorkshire miners in the imaginary village of ‘Grimley’ struggle to at least
maintain their roles as brass band musicians when the local pit closes; in the
case of Peter Cattaneo’s The Full Monty (1997),
redundant steelworkers in Sheffield opt for a rather different and new
relationship to music when, for one night only, they decide to become the most
revealing of striptease artistes.
Comparing
and contrasting the two films, the Paper explores the changing images of
masculinity and femininity occasioned by the new relationships with labour,
unemployment, city, and landscape, as well as the deployment of cultural
paradigms from the world of popular culture which, harnessing the
transformative power of the musical genre, mark the films as fantasies of
personal survival in an inimical and alienated environment.
Leland Tracy - Pets or Meat? – Contrasting Portrayals of Flint, Michigan in Michael Moore’s Roger & Me
Flint,
Michigan has a remarkable place in the history of American automobile
manufacturing. It was the birthplace of General Motors, once the world’s
largest automobile manufacturer, and the setting for the 1937 Flint sit-down
strike, which led to the United Automobile Workers unionization of the industry.
Flint is also the hometown of Michael Moore, one of America’s most
controversial documentary filmmakers. 
In
the early 1980’s, General Motors CEO Roger Smith began a series of layoffs,
which led to more than 30,000 Flint workers losing their jobs. General Motors
was by far the largest employer in Flint, and these layoffs had a catastrophic
effect on the social and economic fabric of the community. Michael Moore’s 1989
film Roger and Me depicts these
effects in both a disturbing and humoristic way.
While
Moore’s film was financially successful, and well received by most critics, it
raises a fundamental question about the nature of documentary filmmaking: Is
there a clear distinction to be made between documentaries, and other genres
such as satire or political propaganda? And if so, what criteria might be used
to make this distinction? Can Moore’s use of dramatic editing techniques to
create a harsh and humorous juxtaposition between the wealth of the Flint’s
elites, and the despair of the laid off workers and the rest of the community
really be considered documentary?
We
will attempt to answer these questions by examining Moore’s film and the
responses it has elicited – Harlan Jacobson, for example, has criticized Moore
for taking liberties with the chronology of events in the film – and by a
consideration of the interdependence between American popular culture and
politics in an increasingly polarized american society.]]></string></description>
<keyword><string language="fre"><![CDATA[Nord de l’Angleterre]]></string></keyword><keyword><string language="fre"><![CDATA[cinéma]]></string></keyword><keyword><string language="fre"><![CDATA[territoire]]></string></keyword><keyword><string language="fre"><![CDATA[Flint]]></string></keyword><keyword><string language="fre"><![CDATA[ville]]></string></keyword><keyword><string language="fre"><![CDATA[industrie]]></string></keyword><keyword><string language="fre"><![CDATA[post-industriel]]></string></keyword><keyword><string language="fre"><![CDATA[Michael Moore]]></string></keyword><keyword><string language="fre"><![CDATA[Roger and me]]></string></keyword>
<lomfr:documentType>
<lomfr:source>LOMFRv1.0</lomfr:source>
<lomfr:value>image en mouvement</lomfr:value>
</lomfr:documentType>
</general><lifeCycle>
<contribute>
<role>
<source>LOMv1.0</source>
<value>author</value>
</role>
<entity><![CDATA[BEGIN:VCARD
VERSION:3.0
CLASS:PUBLIC
REV:2022-04-04 17:01:58
FN:Philipp DRUMMOND
N:DRUMMOND;Philipp;;;
URL;TYPE=work:https://www.canal-u.tv/auteurs/drummond_philipp
ROLE:author
NOTE:Phillip Drummond studied at Saint John’s College, University of Oxford as an undergraduate and postgraduate student. He held an Open Scholarship in Modern Studies (English and French), won prizes for English at College and University levels, and founded the university’s largest arts society, the 2,000-member New Cinema Club of Oxford. He went on to become one of the pioneers of UK Film and Media Studies in the 1970s whilst teaching at Leicester Polytechnic (now De Montfort University) and chairing major initiatives at regional, national and international levels. He joined the Institute of Education, University of London, in 1979 to found the University of London’s first MA degree in Film and Television Studies – and only the country’s second – which he went on to run for nearly two decades. Since 2000 he has been active in US Film, Media and Cultural Studies in London, teaching as an Adjunct for NYUL, the USC Annenberg School, the University of California, and the University of North Carolina and acting as the local Academic Advisor, on behalf of ACCENT International, on the creation of the University of California London Programme. He is also the Director of Academic Conferences London Ltd, a new micro-company which has been responsible since 2011 for pioneering annual international conferences on London, Britain, and global Film and Media under the overall rubric THE LONDON SYMPOSIUM 
TZ:+0200
END:VCARD
]]></entity>
<date><dateTime>2018-11-08</dateTime></date>
</contribute>
<contribute>
<role>
<source>LOMv1.0</source>
<value>author</value>
</role>
<entity><![CDATA[BEGIN:VCARD
VERSION:3.0
CLASS:PUBLIC
REV:2022-04-04 17:01:58
FN:Leland TRACY
N:TRACY;Leland;;;
URL;TYPE=work:https://www.canal-u.tv/auteurs/tracy_leland
ROLE:author
NOTE:Leland Tracy teaches at the Université Jean Monnet in Saint Etienne, France. He is a member of the research group CIEREC. His research concentrates on the interface between American popular culture in the 20th&nbsp;century and historical, social and political context in which this culture has developed. 
TZ:+0200
END:VCARD
]]></entity>
<date><dateTime>2018-11-08</dateTime></date>
</contribute>
</lifeCycle>
<metaMetadata>
<metadataSchema>LOMv1.0</metadataSchema>
<metadataSchema>LOMFRv1.0</metadataSchema>
</metaMetadata>
<technical>
<format>video/mp4</format>
<location><![CDATA[https://www.canal-u.tv/video/ensase/04_images_de_la_ville_postindustrielle_anglophone_philipp_drummond_et_leland_tracy.55917]]></location>
<location><![CDATA[https://streaming-canal-u.fmsh.fr/vod/media/canalu/videos/ensase/04.images.de.la.ville.postindustrielle.anglophone.philipp.drummond.et.leland.tracy_55917/images_de_la_ville_postindustrielle_anglophone_philipp_drummond_et_leland_tracy_55917.sd.mp4]]></location>
<location><![CDATA[https://streaming-canal-u.fmsh.fr/vod/media/canalu/videos/ensase/images.de.la.ville.postindustrielle.anglophone.philipp.drummond.et.leland.tracy_55917/images_de_la_ville_postindustrielle_anglophone_philipp_drummond_et_leland_tracy_55917.bd.mp4]]></location><location><![CDATA[https://streaming-canal-u.fmsh.fr/vod/media/canalu/videos/ensase/04.images.de.la.ville.postindustrielle.anglophone.philipp.drummond.et.leland.tracy_55917/images_de_la_ville_postindustrielle_anglophone_philipp_drummond_et_leland_tracy_55917.hd.mp4]]></location>
<size>381594490</size>
<duration><duration>PT1H22M6S</duration></duration>
</technical>
<educational>
<learningResourceType>
<source>LOMv1.0</source>
<value>lecture</value>
</learningResourceType>
<context>
<source>LOMv1.0</source>
<value>higher education</value>
</context>
</educational>
<rights>
<cost>
<source>LOMv1.0</source>
<value>no</value>
</cost>
<copyrightAndOtherRestrictions>
<source>LOMv1.0</source>
<value>no</value>
</copyrightAndOtherRestrictions>
<description>
<string language="fre"><![CDATA[Droits réservés à l'éditeur et aux auteurs. 
]]></string>
</description>
</rights>
<relation>
<kind>
<source>LOMv1.0</source>
<value>ispartof</value>
</kind>
<resource>
<identifier>
<catalog>URI</catalog>
<entry>https://www.canal-u.tv/producteurs/ensase/la_ville_industrielle_a_l_ecran</entry>
</identifier>
<description>
<string language="fre"><![CDATA[La ville industrielle à l’écran]]></string>
</description>
</resource>
</relation>
<classification>
<purpose>
<source>LOMv1.0</source>
<value>discipline</value>
</purpose>
<taxonPath>
<source>
<string language="fre"><![CDATA[Universités Numériques Thématiques 2009 http://www.universites-numeriques.fr]]></string>
</source>
<taxon>
<id/>
<entry>
<string language="fre"/>
</entry>
</taxon>
</taxonPath>
</classification>
<classification>
<purpose>
<source>LOMv1.0</source>
<value>discipline</value>
</purpose>
<taxonPath>
<source>
<string language="fre">CDD 22e éd.</string>
<string language="eng">DDC 22nd ed.</string>
</source>
<taxon>
<id>791.43</id>
<entry>
<string language="fre"><![CDATA[Cinéma]]></string>
</entry>
</taxon>
</taxonPath>
</classification> </lom>