Review: Sunday, Bloody Sunday by Joseph Janni, John Schlesinger

1972 ◽  
Vol 25 (3) ◽  
pp. 56-58
Author(s):  
Carlon L. Tanner
Keyword(s):  
John Schlesinger ◽  
Bloody Sunday

Film and Commodity

2016 ◽  
Author(s):  
Christopher Pullen
Keyword(s):  
Cultural Capital ◽  
Real Life ◽  
The Self ◽  
Female Characters ◽  
Life World ◽  
John Schlesinger ◽  
Bob Fosse ◽  
Bloody Sunday ◽  
Christopher Isherwood

This chapter considers the representation of straight girl and queer guy within mainstream film, relating the context of the star persona, or the life world of the star. Initially considering the representation of Kenneth Williams within a range of Carry On films, arguing that his imagined real-life friendship with female characters influences how we might read these films, aspects of camp, fantasy, irony and parody are foregrounded. Later more explicit filmic representations of the straight girl and the queer guy are examined, contextualizing the self-reflexive influence of John Schlesinger and Christopher Isherwood respectively within the landmark films Sunday Bloody Sunday (John Schlesinger 1971, UK) and Cabaret (Bob Fosse 1972, US). This leads into an examination of the explicitly commoditized representation of queer man in union with the straight girl, in the films My Best Friend’s Wedding (P. J. Hogan 1997, US), The Object of My Affection (Nicholas Hytner 1998, US) and The Next Best Thing (John Schlesinger 2000, US). As part of this the life world and the cultural capital of the female co-star dominates in providing the cultural reading.

Analyses

2018 ◽  
Author(s):  
David Temperley
Keyword(s):  
Theoretical Framework ◽  
Bloody Sunday

This chapter tries to show how analysis—in-depth exploration of a song in all of its aspects—can be informed and enriched by the theoretical framework presented in previous chapters, allowing us to appreciate more fully how a song follows or departs from stylistic norms. The chapter presents analyses of six songs: Marvin Gaye, “I Heard It through the Grapevine”; Elton John, “Philadelphia Freedom”; Fleetwood Mac, “Landslide”; U2, “Sunday Bloody Sunday”; Alanis Morissette, “You Oughta Know”; and Destiny’s Child, “Jumpin’ Jumpin’.”

Body-Love and the City: A Closer Look at Sunday Bloody Sunday

1975 ◽  
Vol 24 (4) ◽  
pp. 40-47
Author(s):  
Corbin Scott Carnell ◽  
Arcadia Schaeper
Keyword(s):  
Bloody Sunday ◽  
The City

scholarly journals Texts, Bodies, and the Memory of Bloody Sunday

2007 ◽  
Vol 30 (1) ◽  
pp. 79-103 ◽  
Author(s):  
Lyn Spillman ◽  
Brian Conway
Keyword(s):  
Bloody Sunday
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