The author focuses on ideological tensions between post- and neo-imperialism in depicting Great Britain’s historical past in so-called heritage cinema (vintage movies), in particular in Chariots of Fire, directed by Hugh Hudson (1981). Since the movie’s main subject is sport – the British runners in the Paris Olympics in 1924 – the image of sportsmen and sport itself becomes a key problem in relation to British culture and tradition, as well as relations with the English team’s greatest rival, the new-born empire – the United States of America.
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