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In October 2010, the radio broadcaster Philip Dodd interviewed Clio Barnard about her new documentary, The Arbor (2010), based on the life of the late playwright Andrea Dunbar. As part of the film-making process, Barnard recorded audio interviews with Dunbar’s family then hired professional actors to lip-synch the responses in the film. Dodd had a major problem with this method: The Arbor is rooted in the lives of working-class Northern women, yet for Dodd, ‘they’re not good enough to be seen’. In a passionate defence, Barnard argued ‘I wanted people to speak for themselves’. This article examines Barnard’s film in conjunction with Rita, Sue and Bob Too!, for which Dunbar wrote the screenplay. A paradox is considered, where the ‘real’ and ‘authentic’ female voices of Dunbar, her family and neighbours are then mediated by cinematic form; this is placed within a wider argument about how issues around realism and representation in documentary and fiction film contribute to our understanding of the North in popular culture. The analysis then situates this thinking in terms of the representation of Northern writers and spaces, considering how the site-specific locations of writers affect the kind of cultural texts that they are able to produce.  相似文献   
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安德里亚的《基督城》是继《乌托邦》和《太阳城》之后"空想社会主义史上的第三颗明珠"。这部著作集中体现了安德里亚的按需分配思想,他认为公有制是分配的所有制基础,要重视科学技术的重要作用,进行有计划的社会生产,对生产资料和生活资料都实行按需分配。由于受到历史的局限,他的按需分配充满了平均主义和禁欲主义的色彩。  相似文献   
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