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The symbiosis of Joseph Losey and Harold Pinter
Peter Jameson

her study of British social realism, suggesting that critics came up with the British New Wave label in response to realist movements in theatre and literature, later through perceived similarities with French New Wave cinema. She goes on to argue for Italian neorealism as a more appropriate parallel, 19 but the point remains that British directors working in the area of realism were offering up an alternative to Hollywood – a key art film ingredient in Neale’s study. The relationship between the concept of the auteur and that of art cinema takes Neale’s analysis

in British art cinema
Heikki Patomäki

reappeared in the revisions of the Cold War’s history 4 and in the topical security policy discourse about unipolarity and US hegemony. 5 In contrast to neo-realism, my focus is on social meanings and practices, relations of domination, and their political economy underpinnings. 6 From this angle, I analyse the global consequences of the tendency on the

in Mapping European security after Kosovo
Douglas Morrey

in its most urgent task). 3 Histoire(s) du cinéma becomes, then, in the words of James Williams, ‘a tragic narrative of waste and shame’ (Williams 1999 : 308): the cinema never recovers after this fundamental failure in its mission, and post-war film history is characterised by a gradual but ineluctable decline, with the few moments of inspiration – Italian Neo-realism, the French New Wave – unable to reverse the

in Jean-Luc Godard
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Guy Austin

Diva , and in particular the knowing mixture of disparate cultural references, make it ‘the first French postmodernist film’ (Jameson 1990 : 55), this quality is integrated into the narrative drive rather than detracting from it. Les Amants du Pont-Neuf : neo-realism meets artifice By some years the youngest film-maker of the cinéma du look , Léos Carax – real name Alex Dupont

in Contemporary French cinema
Jack Holland

intervention matters. Steve Saiderman and Stephen Dyson have both emphasised the practical importance of Game of Thrones in communicating IR theory – and principally realism and neo-realism to audiences less inclined to sit and read the work of Hobbes and Machiavelli. 45 When teaching international students who have not previously come across Waltz and Mearsheimer, Dyson has suggested throwing out the textbooks and turning on Game of Thrones . Likewise, Clapton and Shepherd argue that there are important ‘lessons from Westeros’, as students and viewers ‘learn about

in Fictional television and American Politics
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Andrew Dix

plot, would be refracted through the prisms of Italian neo-realism and humanist cinema; it becomes a very different thing, however, when approached with the eye of the bicycle movie fan for handlebar and saddle design ( Figure 17 ). 17 Neo-realist classic or masterpiece of humanist cinema – or ‘bicycling movie’? Vittorio de Sica’s Bicycle Thieves (1948) In both of these online lists there is evidence of properly communal engagement, as theorised by Altman, rather than the idiosyncratic endeavours of one or two people. The first selection

in Beginning film studies (second edition)
Martin Steven

is even possible to tentatively link Euro-realism to the influential international relations theory of ‘realism’ itself, although it is not really true to argue that ECR MEPs themselves try to make such a claim. Neo-realism, for example, involves a theoretical interpretation of the way that different countries interact which is based ultimately on self-interest, power and the idea that for so long as countries exist, their governments will seek to protect their political and economic concerns above all else (Waltz 1979 ). Membership of the European Union is

in The European Conservatives and Reformists (ECR)
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Absolutely modern mysteries
Abigail Susik and Kristoffer Noheden

recurring references to the contemporaneous writings in L’Âge du cinéma . Stylistically influenced by neorealism, Los olvidados nevertheless pulsates with the surrealist sensibility that Buñuel asserted in his essay, and which was further established in statements by the Mexican surrealist poet Octavio Paz and, more grudgingly, Breton. The mediation, transmission, and, to a certain extent, mediumism in and of surrealist film remain key strains in the arguments of the three subsequent chapters, which each discuss films from the 1960s. Arnaud Maillet undertakes

in Surrealism and film after 1945
The dynamics of multilateralism in Eurasia
Sean Kay

Institutions and State Power (Boulder, CO: Westview Press, 1989). 15 See Oran R. Young, ‘The Effectiveness of International Institutions: Hard Cases and Critical Variables’, in James N. Rosenau and Ernst-Otto Czempiel (eds), Governance without Government: Order and Change in World Politics (Cambridge: Cambridge University Press, 1992), pp. 160–94. 16 Robert Axelrod and Robert O. Keohane, ‘Achieving Cooperation under Anarchy: Strategies and Institutions’, in Baldwin, Neorealism and Neoliberalism, pp. 85–115. 17 Robert O. Keohane, Joseph S. Nye and Stanley Hoffmann (eds

in Limiting institutions?
Joshua B. Spero

Security, 25:3 (2000/01), pp. 128–61, esp. p. 159; and Gideon Rose, ‘Neoclassical Realism and Theories of Foreign Policy’, World Politics, 51:1 (1998), pp. 144–72. Mark Kramer, ‘Neorealism, Nuclear Proliferation, and East-Central European Strategies’, in Ethan B. Kapstein and Michael Mastanduno (eds), Unipolar Politics: Realism and State Strategies After the Cold War (New York: Columbia University 181 2504Chap9 7/4/03 12:41 pm Page 182 Institutions of security governance Press, 1999), pp. 428, 437–8, 462. 15 For a survey of assessments of the PfP, see Henry

in Limiting institutions?