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This article discusses recent trends in occupational pension policy and identifies the rise of a second policy wave directed towards greater individualisation in occupational pension plans. It is clear that, at a global level, governments and regulatory offices are promoting the so-called third pillar as a valuable pension option and that freedom of choice of the individual is a key element in this process. This individualisation reflects the decreasing involvement of employers in occupational plans and the increasing attentiveness of governments towards individual retirement schemes. We ask whether the so-called first and third pillar are pushing the second pillar away and whether there is a silent pension pillar implosion.In the article, we describe and analyse recent legislative and regulatory initiatives in six European countries to locate the individualisation process. We also propose a new paradigm for pension policy makers in which the so-called pension pillars are abandoned and replaced by an integrated pension vision leading to a balanced target income in retirement. In this integrated vision, there is a legal link between all forms of pension in a given country. This link is reflected in social and fiscal law.

The article studies an issue of the film adaptation of a literary work. The issue posed is considered on the example of N.V. Gogol work. In particular, on the example of his drama. These are such works as "The Inspector General", "The Marriage", "The Players". In their time those works were translated by the authors from literary into cinematic language: the screen version of "The Inspector General" by V.M. Petrov (1952), "Incognito from Petersburg" by L.I. Gaidai (1977), "The Marriage" by V.V. Melnikov (1977), "The Inspector General" by S.I. Gazarov (1996), "The Case of the 'Dead Souls' " by P.S. Lungin (2005), "The Russian Game" by P.G. Chukhrai (2007). As a result it was found that when translated into the cinema language, Gogol's interpretations reveal new meanings that are expressed at the level of genre (the elements of a western in "The Russian Game" or a detective genre in Lungin's film), plot (referring to the plots of several works at once), images (character replacement), details (garlands on the windows in Petrov's "The Inspector General"), as well as stylistics, symbols, metaphors (apples and red in "Marriage", for example). The above is emphasized by the authors through the use of specific film-language techniques. These are eccentrics, shooting at an angle, subjectivity, panoramas, etc. Postmodern techniques, used by interpreters to recreate the space of grotesque, intertextuality, and absurdity, also become interesting.

"Politicised Cinema demonstrates how taking a collection of seemingly apolitical films and using them as an instrument for serving explicit political aims can be used as a force for good. Through an analysis of Orient: A Survey of Films Produced in Countries of Arab and Asian Culture, a film catalogue published by UNESCO and the BFI in 1959 to promote intercultural understanding between the East and the West, this book argues for the importance of studying the ways the interpretation of films can be guided to serve a specific political agenda, even when the films themselves were originally produced with very different aims in mind. The author focuses on how the catalogue positions culture and its cinematic representations as a marker of difference between the Eastern and Western worlds, and shows that even major cultural conflicts such as the Cold War and the decolonisation process can be reframed in service of UNESCO's cultural diplomatic agenda. The book explores the ways in which the catalogue of Eastern films deemed suitable for Western audiences became a weapon to fight against prejudice, intolerance, and bigotry in a politicised battle over dismantling the proclaimed link between difference and conflict. This book will be of interest to students, researchers, and academics in visual politics, cinematic international relations, cultural diplomacy, global governance, and international cultural politics, as well as film studies, Asian studies, and cultural studies. In addition, policymakers and practitioners in the fields of cultural diplomacy and cultural policy will find the empirical case study to be of use in practical work"--

Through a comparative study of two films, The Joy Luck Club and Crazy Rich Asians, the article elaborates how Chinese diaspora films use Mahjong's cinematic symbolism and cultural significations to negotiate Chineseness in different ways. In particular, three differences between the two films are analysed. The first one is the different attitudes of the female protagonists towards Mahjong as well as the Chineseness embodied by it. The second concerns the disparate presences of Mahjong in films made by mainland China-based filmmakers and Chinese diasporic filmmakers due to Mahjong's differed historical trajectories and sociocultural implications. The last one is about the distinct goals the two film directors set when they employ Mahjong to (re)construct their identity and Chineseness on the part of the Chinese diaspora. This article concludes that Chineseness is not a monolithic and rigid category, but rather a chameleonic formation that is contextually and individually determined; moreover, in the age of globalization when coexistence and interdependence are valued more than mutual-resistance, the dynamic nature of Chineseness necessitates a more hybrid and critical identity framework: in-betweenness.

Cover -- Hlaf Title -- Title -- Copyright -- Contents -- Introduction -- Chronology -- Chapter 1: Background on Rachel Carson -- 1. The Life of Rachel Carson -- 2. Rachel Carson Was a Hero -- Chapter 2: The Environment in Silent Spring -- 1. Silent Spring Advocates a Balanced View of Nature -- 2. Silent Spring Calls for a New Way of Thinking About the Environment -- 3. Silent Spring's Success Stems from Its Mix of Science and Storytelling -- 4. Silent Spring Is a Subversive Book -- 5. Carson Used War Metaphors to Make Her Point About Pesticides -- 6. Attacks on Silent Spring Were Gender Based -- 7. Silent Spring Does Not Begin or End the Battle over Pesticide Policy -- 8. Silent Spring Challenges Our Commitment to Environmental Safety -- 9. Silent Spring Exaggerated the Case Against Pesticides -- 10. Silent Spring's Critics Distort Carson's Case -- 11. Carson Won a Battle but Lost the War over Environmental Policy -- Chapter 3: Contemporary Perspectives on the Environment -- 1. Modern Capitalism Causes Needless Waste of Natural Resources -- 2. Pesticides Are Still Poisoning the Planet -- 3. Environmentalists Devalue Human Life -- 4. The 2010 Gulf Oil Spill Provides Lessons About Preventing Future Disasters -- 5. Environmentalists Are the Enemy of Progress and Happiness -- 6. DDT Should Be a Last Resort in Fighting Malaria -- 7. National Security and Environmentalism Must Work Collaboratively -- For Further Discussion -- For Further Reading -- Bibliography -- Index -- Back Cover

AbstractThis paper is an exploration of cinematic memory as a resource for remembering large-scale Keralan migration to the Gulf since the late 1960s. The south Indian state of Kerala, which predominantly speaks Malayalam, is a major contributor to the migrant labour force in the Gulf region for the last five decades. However, until recently, the migrant figured in the public discourse of Kerala as an economic agent alone. There has been increasing instances of memorialising the Gulf in the Malayalam public sphere since the beginning of the 2000s which brings to light the subjective aspects of the Gulf migration. However, what is lost in these accounts is the simultaneity and interlinked nature of the two places. Cinema, on the other hand, offers resources to inscribe the mutuality of the two places in the collective memory of Kerala. Invoking Pierre Nora's concept of places of memory, the paper looks at cinematic renditions of 'Dubai' as one such site of memory in the present when the image of Dubai and the profile of Keralan migrant has undergone a shift. Taking the example of one Malayalam film, Pathemari (Salim Ahamed, 2015), and tracing its cinematic genealogy, this paper analyses the ways in which 'Dubai' is remembered and how this remembrance inscribes the Gulf as part of the collective memory of Kerala. The paper identifies the persistence of filmed space, intertextuality, and the archivality of the star body as the modes in which cinematic memory achieves this collective memorialisation. The mutuality between Kerala and Dubai, offered by cinematic memory, allows it to be an act of affective citizenship on the part of the migrants, i.e. embodied and sensorial acts of claiming the universal right to have rights.