The Representation of Economics in Cinema: Scarcity, Greed and Utopia, Sanchez-Pages Santiago
Автор: Kevin M. Flanagan Название: War Representation in British Cinema and Television ISBN: 3030302024 ISBN-13(EAN): 9783030302023 Издательство: Springer Рейтинг: Цена: 9781.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book explores alternatives to realist, triumphalist, and heroic representations of war in British film and television. Focusing on the period between the Suez Crisis of 1956 and the Falkland War but offering connections to the moment of Brexit, it argues that the “lost continent” of existential, satirical, simulated, and abstractly traumatic war stories is as central to understanding Britain’s martial history as the mainstream inheritance. The book features case studies that stress the contribution of exiled or expatriate directors and outsider sensibilities, with particular emphasis on Peter Watkins, Joseph Losey, and Richard Lester. At the same time, it demonstrates concerns and stylistic emphases that continue to the present in television series and films by directors such as Lone Scherfig and Christopher Nolan. Encompassing everything from features to government information films, the book explores related trends in the British film industry, popular culture, and film criticism, while offering a sense of how these contexts contribute to historical memory.
Since 2000, there has been a considerable effort in Turkish cinema to come to terms with the military's intervention in politics and subsequent national trauma. It has resulted in an outpouring of cinematic texts. This book focuses on women and Turkish cinema in the context of gender politics, cultural identity and representation.
The central proposition of this book is that enforced depolticisation introduced after the coup is responsible for uniting feminism and film in 1980s Turkey. The feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on the individual, on women's issues and lives, in order to avoid the overtly political.
Women and Turkish Cinema provides a comprehensive view of cinema's approach to women in a country which straddles European and Middle Eastern cultural conceptions, identities and religious values and will be an invaluable resource for students and scholars of Film Studies, Gender Studies and Middle East Studies, amongst others.
Legislatures, the judiciary and civil society are important actors in representative democracies. In what ways and how well do they represent? And how effectively do they carry out their institutional and social roles? Both questions refer to the key dimensions of democracy analyzed in this book: representativeness and effectiveness, respectively. While they have been developed separately in scholarly work on institutions and regimes, there is little work considering them simultaneously, and on their interaction. Using quantitative and/or qualitative methods, contributions from top scholars in the field of legislatures, the judiciary and civil society examine these two concepts and their relationships in four Latin American countries: Argentina, Brazil, Chile, and Mexico.
Designed to guide the reader through the complexities of this debate, each expert engages in a larger set of theoretical debates about different approaches to representation in each sphere. In doing so, they debate how effectively these spheres carry out their roles in each country: whether a congress is institutionalized, its accountability, and its performance as a lawmaker; whether a judicial system is independent, carries out oversight, and protects citizen rights; and the role of civil society in a representative democracy.
Representation and Effectiveness in Latin American Democracies is a timely and welcomed contribution to the to the growing debate about the quality of democracy in Latin America, and the developing world more generally.
Описание: Is cinema evil, or sacramental? Can films make theological contributions? Can film-viewing be a religious practice? How do films, values and power interact? The study of film and religion engages a range of diverse questions through different approaches and methods. In this contribution, I distinguish three complementary approaches. In the first part, I discuss those that focus on the film as text, the representation of religion in film, and how theology happens in film. The next section will broaden this perspective by taking into consideration how films affect audiences, and how the relationship between film and audience might have religious dimensions or serve religious functions. In the third part, attention to the text and the audience are combined with the consideration of both film and religion as agents in cultural processes in order to think about how film and religion are shaped by and shape value systems and ideologies. In the last section I will begin to tackle the difficult question of theory and method. I consciously postpone this part until the end because, in many cases, methodologies and theoretical frameworks are implied in and emerge from concrete case studies rather than being consciously reflected upon. This final section has two goals: it will make explicit some of these underlying assumptions to serve as a starting point for a more sustained reflection on the theories and methodologies of the field, and it will highlight some of the pitfalls we encounter if we are not methodologically and theoretically precise in our work.
Since 2000, there has been a considerable effort in Turkish cinema to come to terms with the military's intervention in politics and subsequent national trauma. It has resulted in an outpouring of cinematic texts. This book focuses on women and Turkish cinema in the context of gender politics, cultural identity and representation.
The central proposition of this book is that enforced depolticisation introduced after the coup is responsible for uniting feminism and film in 1980s Turkey. The feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on the individual, on women's issues and lives, in order to avoid the overtly political.
Women and Turkish Cinema provides a comprehensive view of cinema's approach to women in a country which straddles European and Middle Eastern cultural conceptions, identities and religious values and will be an invaluable resource for students and scholars of Film Studies, Gender Studies and Middle East Studies, amongst others.
Описание: Victims, Perpetrators and Professionals examines the representation of women in relation to violence in Chinese crime films made on the mainland, and in Hong Kong and Taiwan. It introduces a new trajectory in the investigation of the cinematic representation of female figures in relation to gender issues by interweaving Western feminist and postfeminist critiques with traditional Chinese sociocultural discourse. An in-depth narrative identifies three major representations of women: the female victim, the female perpetrator of violence, and the female professional. Salience to contemporary society shows up in many ways, passive and active, all of which reinforce a sense of male dominance and patriarchal power. Analysis bridges the gap in the field of female representation in Chinese culture/Chinese film studies by systematically examining Chinese crime films as a genre in its own right. The depiction of female victimisation at the hands of men in the selected crime films consolidates the notion of womens vulnerability and inferiority as perceived in Chinese gender discourse. On the other hand, the representation of active female perpetrators of violence, and as professional working women, presents what may be seen as a postfeminist masquerade a cultural strategy that shows an ostensible impression of female empowerment albeit that it reinforces traditional gender hierarchies in the Chinese gender context. While graphic female victimisation is commonly presented, female perpetrators of violence and females in professional roles in crime films are shown to remain under the control of male authority, leading to the conclusion that Chinese crime films are produced in a context of heavy patriarchal power and misogyny. SUSSEX ASIAN STUDIES, GENERAL EDITOR: MINA ROCES
It is commonly supposed that certain elements of medieval philosophy are uncharacteristically preserved in modern philosophical thought through the idea that mental phenomena are distinguished from physical phenomena by their intentionality, their intrinsic directedness toward some object. The many exceptions to this presumption, however, threaten its viability. This volume explores the intricacies and varieties of the conceptual relationships medieval thinkers developed among intentionality, cognition, and mental representation. Ranging from Aquinas, Scotus, Ockham, and Buridan through less-familiar writers, the collection sheds new light on the various strands that run between medieval and modern thought and bring us to a number of fundamental questions in the philosophy of mind as it is conceived today.
Описание: Covering the period 1971-2000, this volume develops a new approach to `public policy investment`. It shows how governments are like investors who act of on behalf of the public and how enhance their chances of re-election by managing a portfolio of public policies.
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