By Dave Fishwick
The worldwide economy is in obstacle, bankers are in disrepute and Britain is on the point of a double-dip recession. Now one guy, bored to death with unending stories of greed and corruption, units out to turn out that there's a various approach of doing issues - through commencing his personal financial institution to aid inject much-needed lifestyles into neighborhood businesses.
Dave Fishwick is a self-made, straight-talking guy from Burnley who hates the banks. released to tie in with a Channel four sequence of an identical identify, this can be the tale of his try to organize an easy, no-nonsense financial institution that truly cares approximately its shoppers. Dave plans to place millions of kilos of his personal cash into the firm; he'll supply his consumers an improved interest rate than they get at the excessive road; he'll lend to suffering neighborhood companies that the banks don't need to know approximately; and he goals to deliver the financial institution of Dave into revenue inside a hundred and eighty days. If he succeeds, he'll provide no matter what he makes to charity. If he fails, he'll make a bad loss and break his well-merited acceptance as a winning businessman.
Can one guy quite tackle the banking giants and make a true distinction to neighborhood companies and his group? Dave Fishwick definitely hopes so.
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Additional resources for Bank of Dave: How I Took On the Banks
In doing so, they offer a challenge to the established canon and encourage a rethink of what counts as “queer cinema,” where popular teen cinema can be thought of alongside the critically acclaimed films of Todd Haynes, Greg Araki, Sadie Benning and Su Friedrich. For girl characters in particular, heterosexual hegemonic ideologies are reflected in the varying ways that queerness is represented as a temporary phase entered into during a liminal period of adolescence. In this period, queer desire is often represented as acceptable practice for heterosexual desire.
Analysing “Madchen in Uniform—What I go to school for” and “Lea and Dianna: The First Mile” through White’s framework—I suggest that this digital form expresses the queerness of the queer girl through a disjunctive off-the-expected-beat rhythm. As I demonstrate, this rhythm serves as a productive model for imagining time queerly and thus allows for an alternative temporalisation of the queer girl to the screen media that I discuss in earlier chapters. In questioning what happens to queer girls as they grow up, Chap.
These included Jennie Livingston’s Paris is Burning (1990), Todd Haynes’ Poison (1991) and Tom Kalin’s Swoon (1992), three films often cited as beginning this movement. The same queer aesthetics can also be located in My Own Private Idaho (Gus Van Sant, 1991), Young Soul Rebels (Isaac Julien, 1991), 40 W. P. (Laurie Lynd, 1991), Edward II (Derek Jarman, 1991), Khush (Pratibha Parmar, 1991), The Hours and Times (Christopher Münch, 1991), and The Living End (Greg Araki, 1992) as well as experimental works by Sadie Benning, Su Friedrich, Cecilia Dougherty and Monica Treut.
Bank of Dave: How I Took On the Banks by Dave Fishwick