The opening ceremony selectively borrows the elements from the British films and keep the perceptions of the Britishness in these films that make them distinctive in global cinematic domains. Through the simulations of Britishness, The ceremony thus becomes a global audio-visual commodities (Tzanelli, 2013: 59). The performance heavily emphasizes on the nationally iconic personality from popular culture such as Mr Bean and James Bond and successfully achieved a blending of the seriousness and entertainment. In the next section ‘Happy and Glorious’, Queen Elizabeth II and the Duke of Edinburgh enter the stadium, the royal navy carrying the union flag into the stadium (The Opening Ceremony, 2012). As Tzanelli (2013: 53) points out, the section
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Samuel (1994, cited in Harrison, 2010: 19) also advocates the role of heritage in generating diversity and multiculturalism in society. If heritage is incorporated into the public sphere as ‘a form of popular entertainment’, it could be a new way of seeing heritage from ‘below’ (Harrison, 2010:20). ‘Frankie and June Say ... Thanks Tim’ is the section that celebrates popular music as an essential component in popular culture. Roberts (2012: 2) emphasizes that popular music, especially the classic works, are undoubtedly valuable in the cultural heritage of contemporary Britain. The love story of Frankie and June is unfolding through the music from 1960s to 1990s played by a series of clubs. As the message June sends to Frankie says: ‘We are on our way to the 70s’, soon they are found to be surrounded by the performers who dressed in the particular style in that decade. Furthermore, the music chosen for this segment is praised as the ‘Best of British popular music heritage’ (Roberts, 2012: 1), and a package of the landmark hits of many famous artists, such as ‘Hey Jude’ of the Beatles, and ‘My generation’ of the Who (The Opening Ceremony,
Samuel (1994, cited in Harrison, 2010: 19) also advocates the role of heritage in generating diversity and multiculturalism in society. If heritage is incorporated into the public sphere as ‘a form of popular entertainment’, it could be a new way of seeing heritage from ‘below’ (Harrison, 2010:20). ‘Frankie and June Say ... Thanks Tim’ is the section that celebrates popular music as an essential component in popular culture. Roberts (2012: 2) emphasizes that popular music, especially the classic works, are undoubtedly valuable in the cultural heritage of contemporary Britain. The love story of Frankie and June is unfolding through the music from 1960s to 1990s played by a series of clubs. As the message June sends to Frankie says: ‘We are on our way to the 70s’, soon they are found to be surrounded by the performers who dressed in the particular style in that decade. Furthermore, the music chosen for this segment is praised as the ‘Best of British popular music heritage’ (Roberts, 2012: 1), and a package of the landmark hits of many famous artists, such as ‘Hey Jude’ of the Beatles, and ‘My generation’ of the Who (The Opening Ceremony,