Claire Monk
Biographic Data
| ID | 3674308 |
|---|---|
| NAME | Claire Monk |
| GIVEN NAMES | Claire |
| FAMILY NAME | Monk |
| SIGNATURE | MONK C |
| AFFILIATIONS | De Montfort University |
| ORCID | 0000-0002-3400-3803 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
From Costume Romps to Queer Milestones
The post-New Wave films and trajectories of the key British New Wave directors remain under-analysed terrain, both in terms of their potential relevance for interrogating how we understand the British New Wave itself and for the terms in which we might conceptualise a ‘Long’ New Wave. This article departs from persisting auteurist approaches to consider the post-New Wave oeuvres and careers of these directors collectively, in terms which foregrou…
Such emotional sterility proves ideal for the role
Resumés of Hugh Grant’s career routinely note his performance as the repressed, upper-class Clive Durham in James Ivory’s groundbreaking gay Edwardian drama Maurice (1987) as his breakthrough role. However, Grant’s subsequent rise to global romcom stardom and celebrity since Four Weddings and a Funeral (1994) has gradually occluded this earlier career phase from consideration as a significant moment in the formation of the ‘Hugh Grant’ persona. T…
EMI and the ‘Pre-heritage’ Period Film
First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 …
Screening European Heritage
Despite the transnational character of the 21st-century film and entertainment industries, and the transformation of modes of consumption by the interlinked impacts of globalisation, digitisation, media convergence, social media and participatory culture, academic discourse around ‘heritage cinema’ has nonetheless persisted in framing it (however anachronistically) as a national ‘project’. The Screening European Heritage project, similarly, has p…
Bedside theatre performance and its effects on hospitalised children's well-being
This article reports on practice-based pilot research being undertaken at Birmingham Children's Hospital in England on the impact of bedside theatre performance on hospitalised children's well-being. It discusses the process of creating theatre for sick children, connecting with the hospital and working within the hospital tight routines, dealing with ethics, working with theatre artists and performing to children bedside. It also reports on evid…
Heritage Film Audiences
The concept of 'heritage cinema' is now firmly established as an influential - as well as much-debated and contested - critical framework for the discussion of period or historical representation in film, most prominently with reference to British heritage and 'post-heritage' film successes since the 1980s, but also to comparable examples from Europe, North America and beyond. These successes have ranged from Merchant Ivory's A Room with a View ,…
Heritage Film Audiences
The concept of 'heritage cinema' is now firmly established as an influential - as well as much-debated and contested - critical framework for the discussion of period or historical representation in film, most prominently with reference to British heritage and 'post-heritage' film successes since the 1980s, but also to comparable examples from Europe, North America and beyond. These successes have ranged from Merchant Ivory's A Room with a View ,…
Heritage Film Audiences
The concept of 'heritage cinema' is now firmly established as an influential - as well as much-debated and contested - critical framework for the discussion of period or historical representation in film, most prominently with reference to British heritage and 'post-heritage' film successes since the 1980s, but also to comparable examples from Europe, North America and beyond. These successes have ranged from Merchant Ivory's A Room with a View ,…
Bedside theatre performance and its effects on hospitalised children's well-being
This article reports on practice-based pilot research being undertaken at Birmingham Children's Hospital in England on the impact of bedside theatre performance on hospitalised children's well-being. It discusses the process of creating theatre for sick children, connecting with the hospital and working within the hospital tight routines, dealing with ethics, working with theatre artists and performing to children bedside. It also reports on evid…
Screening European Heritage
Despite the transnational character of the 21st-century film and entertainment industries, and the transformation of modes of consumption by the interlinked impacts of globalisation, digitisation, media convergence, social media and participatory culture, academic discourse around ‘heritage cinema’ has nonetheless persisted in framing it (however anachronistically) as a national ‘project’. The Screening European Heritage project, similarly, has p…
EMI and the ‘Pre-heritage’ Period Film
First coined in the UK in the early 1990s as a new label for an ostensibly new, post-1979 kind and cycle of period cinema, the ‘heritage film’ is now firmly established as a widely used term and category in academic film studies. Although the heritage film’s defining features, ideological character and ontological coherence would remain debated, its status as a ‘new’ category hinges, self-evidently, on the presumption that the films of post-1979 …
Such emotional sterility proves ideal for the role
Resumés of Hugh Grant’s career routinely note his performance as the repressed, upper-class Clive Durham in James Ivory’s groundbreaking gay Edwardian drama Maurice (1987) as his breakthrough role. However, Grant’s subsequent rise to global romcom stardom and celebrity since Four Weddings and a Funeral (1994) has gradually occluded this earlier career phase from consideration as a significant moment in the formation of the ‘Hugh Grant’ persona. T…
From Costume Romps to Queer Milestones
The post-New Wave films and trajectories of the key British New Wave directors remain under-analysed terrain, both in terms of their potential relevance for interrogating how we understand the British New Wave itself and for the terms in which we might conceptualise a ‘Long’ New Wave. This article departs from persisting auteurist approaches to consider the post-New Wave oeuvres and careers of these directors collectively, in terms which foregrou…
Art (4 works) · Visual arts (4 works) · Art history (3 works) · Cinema and Media Studies (3 works) · Sociology (3 works) · Aesthetics (2 works) · Media studies (2 works) · Psychology (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Archaeological Research and Protection (1 works)