Search results

Introduction -- Hollywood and global dominance. "For a better deal, harass your governor!" : neoliberalism and Hollywood / Toby Miller and Richard Maxwell -- A legacy of neoliberalism : patterns in media conglomeration / Eileen R. Meehan -- 21st century neoliberal man / Deborah Tudor -- Latin America. Cuban cinema : a case of accelerated underdevelopment / Michael Chanan -- Politics and privatization in Peruvian cinema : Grupo Chaski's aesthetics of survival / Sophia A. McClennen -- Form, politics and culture : a case study of the take, the revolution will not be televised and listen to Venezuela / Mike Wayne & Deirdre O'Neill -- Asia. Market socialism and its discontent : Jia Zhangke's cinematic narrative of China's transition in the age of global capital / Xudong Zhang -- "Leitmotif" : state, market, and postsocialist film industry under neoliberal globalization / Ying Xiao -- From exploitation to playful exploits : the rise of collectives and the redefinition of labor, life, and representation in neoliberal Japan / Sharon Hayashi -- The underdevelopment of development : neoliberalism and the crisis of bourgeois individualism / Jyotsna Kapur -- Fragments of labor : neoliberal attitudes and architectures in contemporary South Korean cinema / Keith B. Wagner -- Mainlandization and neoliberalism with post-colonial and Chinese characteristics : challenges for the Hong Kong film industry / Mirana M. Szeto and Yun-chung Chen -- -- Neoliberalism and authoritarianism in Singaporean cinema : a case study of Perth / Jenna Ng -- Gambling on life and death : neoliberal rationality and the films of Jeffrey Jeturian, Bliss Cua Lim -- Africa and Europe. Nollywood in Lagos, Lagos in Nollywood films / Jonathan Haynes -- French cinema : counter-model, cultural exception, resistances / Martin O'Shaughnessy

Foreign policy and defence policy should be complementary. Recent reports suggest not only that foreign and defence policy are not always complementary but also that there is a lack of understanding between the foreign and defence policy communities. Different foreign and defence policy cultures could account for the inconsistencies in policy. As a result, this thesis examines the extent that culture plays a role in the apparent gap between foreign and defence policy. Authorial interpretations present in published works on foreign and defence policy will be used to examine culture. Within these writings there are identifiable differences within the beliefs and assumptions surrounding the notion of a Canadian military tradition. Because tradition is a key element for an understanding of culture, the differences in recognition of a military tradition will be used to examine the differences in culture. Through this examination it is apparent that writers who predominantly focus on foreign policy believe that Canada has a non-military tradition while writers who focus on defence adhere to a belief in a Canadian military tradition. Although these writers hold differing beliefs and assumptions which lead to different cultural emphasis, there is room for reconciliation due to the consistent value of peace and stability. Recognition of the different notions surrounding tradition can help lead to greater cultural coherency and therefore more complementary policy formation.

Although women comprised the majority of American cinema accompanists during the silent film period (c. 1895–1927), few of their music libraries or compositions have survived, whereas collections created by male cinema musicians dominate the silent film music archives. Women musicians suggested, shaped, and helped define the musical tastes of the time; educated listeners; and showed how music could serve as a creative, narrative, and interpretative force in the cinema. I offer an accounting of extant collections by women accompanists and read their contents and contexts from a feminist perspective. Using hints and fragments found in letters, period trade journals, and catalogs, I then speculate on an imaginary archive, one that collects music composed or played by female silent film musicians whose work has been lost to us, but whose influence in the development of film music is unmistakable.

Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture.

Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life.

Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

A cultural analysis of television newsgathering and production that explores the spatial organization of the newsroom and the temporal manipulation of "real" events to create news is lacking in organizational sociology and media and cultural studies. This article explores the relationship between the "event" taking place "in the world" and the production process that enables the communication of that event to an audience through the televisual process. Using Bakhtin's literary device of the chronotope, a cultural reading of news production is examined where a constant redefinition of "real" time and space takes place to interiorize the outside world into the production machine of the newsroom. The article explores professional relationships between journalists working in the separate newsgathering and news production zones of a BBC regional newsroom and illustrates their individual manipulations of the temporal and spatial parameters of the news event as it happens.

This book presents the bold and original proposal to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema'. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that aspires to be life itself; 'intermedial passages', or films that incorporate other artforms as a channel to historical and political reality; and 'total cinema', or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.

Post-secondary institutions are high-risk communities for sexual violence. While sexual violence has always been an issue within post-secondary, it is only recently that the topic of sexual violence has gained more attention from media. This media attention has resulted in a public outcry and has resulted in the creation and implementation of post-secondary sexual violence-specific policies as well as educational initiatives and programming. Furthermore, the public outcry has also led to an explosion of studies being performed within academia, such as the gendering of sexual violence. However, there are also gaps in the literature. For instance, the connections between how alcohol culture and gender ideologies contribute to post-secondary institutions being such high-risk communities for sexual violence is not as emphasized as it should be. This paper aims to demonstrate how alcohol culture and gender ideologies contribute to the phenomenon of sexual violence on post-secondary campuses.

This book proposes to replace the general appellation of 'world cinema' with the more substantive concept of 'realist cinema', all the while valorising world cinema as an invaluable reservoir of diversity and inclusion. Arguing that an ethics of the real has bound world films together across history and geography at cinema's most creative peaks, the book veers away from the usual focus on modes of reception and spectatorship, locating instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: 'non-cinema', or a cinema that questions the film medium, aspiring to be life itself, in constant, and often self-defeating, competition with the medium's inevitable manipulation of world phenomena; 'intermedial passages', or films that incorporate other artworks in progress as a channel to historical and political reality; and 'total cinema', or films relying on long duration and monumental landscapes with a totalising historical and geographical impetus akin to what Bazin had defined as the human desire for 'integral realism'. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, thereby reasserting the point that realism is timeless and inherent in cinema from its origin.