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Britain’s changing strategy in Afghanistan
Aaron Edwards

total, 527 were very seriously or seriously injured.58 ‘Chickens coming home to roost’: a change in priorities The outcome of the British general election in May 2010 signalled a significant step-change in British policy towards Afghanistan. In the run-up to the election all three party leaders broadly agreed on the need to ensure that political and military efforts succeeded. Writing in the weeks running up to the election Conservative Party leader David Cameron accepted that: The strategy which has been in place since the end of last year is, I believe, broadly the

in Defending the realm?
Abstract only
Race and representation in recent
James Burton

positioned race and immigration somewhat to the forefront of its version of 1950s London. Initially, it appears that the macro nature of The Hour’s approach to the structural fault lines of 1950s Britain will enable a thorough examination of the racial politics, alongside the gender politics, of the era. In the first episode, once the opening narrative tide has settled, we follow the ostensible hero, Freddie Lyons, coming home from work to Notting Hill. The choice of this area for his home immediately evokes the racial fault lines characterised by the Notting Hill riots of

in Adjusting the contrast
Abstract only
Chris Beasley and Heather Brook

in horror movies. And, because they are bounded by the constricted time-scale conventions of film-watching, they also provide access to both cathartic and comforting containment. The purgative wallowing in the rupture of the normal offered by horror films rarely enables any alternative social vision. Rather, they provide access to a kind of adrenaline-fuelled joyriding, with the promise of consolation available Disorder and fear 85 through the destruction of insecurity and cominghome’ – even if only temporarily. Because of our cultural politics focus, we

in The cultural politics of contemporary Hollywood film
All or Nothing
Tony Whitehead

have a point, but her throwaway ‘You make me sick’ and her suggestion that his family are to blame for Rory’s heart condition (‘All on your side, ain’t it? Ain’t none on mine’) seem unduly harsh. She launches into another attack on him for making himself unavailable; he says that he turned off his radio and mobile because ‘I’d had enough’. ‘What can I switch off when I’ve had enough?’ she asks. ‘Had enough of getting up every morning, going to work, doing the shopping, coming home, cooking the tea, cleaning the house, doing the ironing, making sure everyone’s got clean

in Mike Leigh
Vera Drake
Tony Whitehead

one’s face hurting in sympathy. Staunton has said that she ‘never in a million years’ thought that she would work with Leigh: ‘I’ve met him over the years and I’ve thought, oh, I don’t think I’m his type … I’m not in that league’.12 When he approached her, she recalls that ‘all I was told by Mike was, “I am setting a film in the 50s concerning abortion”. He said, “You would be very heavily involved. Is this something you can handle?”’13 She discussed the prospect with her husband, actor Jim Carter: ‘Jim said, “Oh no, I am going to have some mad woman coming home each

in Mike Leigh
The early films
Keith Beattie

’s description of rural England includes ‘the smell of wood smoke lying in the still air … little red birds singing in the blinds under the thatch … church bells … bats [starting] to flicker like little bits of burnt paper … the slow jingle of a team coming home from the fields’.26 Another book in the travelogue-survey genre, J. B. Priestley’s English Journey (1934), refers to ‘Old England’, the ‘country of the cathe­ drals and minsters, and manor houses and inns, of Parson and squire; … we all know this England, which at its best cannot be improved upon in this world’.27

in Humphrey Jennings
Željka Doljanin

winning a game of darts, he goes home, watches Mickey Mouse on the television, and dies. It is Mary who observes, a few days after the funeral, ‘Poor Johnny’s gone. It’s almost as if he never was’ (305). Johnny has become a gust of air, unnoticeably moved into the permanence of Mary’s memory together with all the others, whether they are ‘here or in England or alive or dead’. Even though Johnny is not a foreign character, McGahern’s depiction of the Irish migrant coming home resonates and speaks to our understanding of the other-nation migrants in Ireland at this time

in John McGahern
Paul D. Halliday

Jacob and Esau, the twin sons of Isaac and Rebekah. Esau had come first from the womb so, by God’s law, Esau possessed the birthright. But one day, coming home famished from hunting, Esau asked Jacob to feed him. And Esau said, Behold, I am at the point to die: and what profit shall this birthright do to me? And Jacob said, swear to me this day; and he sware unto him: and he sold his birthright unto Jacob. Then Jacob gave Esau bread and pottage of lentils; and he did eat and drink … thus Esau despised his birthright. 23 It’s a strange story. As a

in Revolutionising politics
The ‘rude awakenings’ of the Windrush era
Stuart Ward

routes which made the wealth of London, Marseilles, Bristol, Bordeaux, Cadiz, Seville and Lisbon. Europe’s chickens were coming home to roost! 37 That such instinctive awareness of the proximity of past ‘horrors’ could coexist (often in the same individual testimony) with naïve expectations of British

in The break-up of Greater Britain
David Ranc

). 45 For an avowed example of this position, see Adam Brown, ‘Introduction’, in Adam Brown (ed.), Fanatics! Power, identity and fandom in football, pp. 1–7. London: Routledge, 1998 (hereafter Brown 1998). 46 King 1998. 47 Richard Haynes, ‘Every Man(?) a football artist: football writing and masculinity’, in Steve Redhead (ed.), The passion and the fashion: football fandom in the new Europe, pp. 55–77. Aldershot: Avebury, 1993. 48 Ben Carrington, ‘“Football’s coming home” but whose home? and do we want it? Nation, football and the politics of exclusion’, in

in Foreign players and football supporters