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In the latter text, a rather eclectic range of films from the 1960s, 1970s and 1980s are read solely in terms of their function as allegories of the ghostly traces of the late-capitalist global system. But Mandel’s grand scale historical materialist periodisation of three stages of capitalism does not leave much space for the analysis of the smaller trends, cycles and subcycles of post-1960s cinematic production or the interrelated questions around identity politics – such as gender – that have been so significant within film scholarship over the last two decades.

Norman Denzin, Ryan and Kellner all view Lynch as a rare contemporary practitioner of intelligent, rather than banal, allusionism. Responses to Tarantino’s Reservoir Dogs (1992) and Pulp Fiction (1994) were also been surprisingly gendered in emphasis. Male critics tend to give far less weight to issues of violence, gender identity or the absence of women in favour of Tarantino’s wit, ingenuity and sophisticated narrative structures. Although male and female critics do not fall into straight pro- or anti-Tarantino camps, there is certainly a tendency to prioritise issues of gender identity among female critics that was often absent from male critical accounts of the early 1990s.

For example, while Huyssen conceptualises the difference between late modernism and postmodernism via a comparison of the work of Samuel Beckett and the relatively populist and accessible postmodernist writers such as Italo Calvino or Gabriel Garcia Marquez, Jameson’s pool of references was comprehensive and wide-ranging enough to address both avant-garde artists – such as John Cage – and Steven Spielberg and George Lucas movies. Similarly, in the well-known 1980s Hal Foster anthology Postmodern Culture, Jameson’s article sits alongside postmodern critiques of visual artists, photographers and musicians such as Barbara Kruger, Cindy Sherman and John Cage (Foster, 1985: ix).

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Croatia - Croatia in pictures

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