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Ana Longoni

being advanced by the cultural authorities. In his personal papers – which he cautiously kept unpublished – he wrote: Neo-realism closed itself into rigid schemes, it did not overcome the problems of an art for struggle. Instead of diversifying the forms, enriching the contents, it limited them to a need for a spirit of principle and partisan responsibility. Such errors culminated with its own isolation, with the lack of perspective and doctrinaire dogmatism.11 Upon his return to Argentina, Castagnino founded the Asociación Argentina de Cultura China (Argentinian

in Art, Global Maoism and the Chinese Cultural Revolution
Perspectives from Jammu and Kashmir, Cyprus and Bosnia-Herzegovin
Elena B. Stavrevska, Sumona DasGupta, Birte Vogel, and Navnita Chadha Behera

regardless of the specificity of the context and the stage of the conflict? Old theories, new realities This chapter is informed by, but is not focused on, testing existing theory. Though Peace and Conflict Studies as a separate multidisciplinary field has now come into its own, much of international conflict has typically been studied through the lens of International Relations. We find it difficult to locate an analysis of victimhood and agency especially in the positivist terrain of International Relations. Realism of different variants – classical, structural or neo-realism

in Cultures of governance and peace
Abstract only
Maurice Pialat, the outsider
Marja Warehime

). Ultimately, however, Pialat proved to have much more in common with Rozier, Eustache and Doillon in his commitment to auteur cinema. In the case of Rozier and Eustache in particular he also shared an uncompromising approach to filmmaking that discouraged producers from taking on his projects. Neither a member of a group nor a mentor, as was Truffaut, to a host of aspiring filmmakers, Pialat nonetheless touched a younger generation, as the Cahiers roundtable made clear. Moreover, his early films in particular prefigure the ‘neo-realism’ of the nineties, films (by Dominique

in Maurice Pialat
Abstract only
Modernity and the cinematic past
Peter Buse, Núria Triana Toribio, and Andy Willis

between the heavily censored and dulcified neo-realism of the 1950s and the already existing pre-cinema genre of the sainete. Three directors in particular, Fernando Fernán-Gómez, Marco Ferreri and Luis García Berlanga, appropriated the sainete, painted its comedy several degrees darker and created a formal language which elevated it into a vehicle for censure of the social and moral order in the dictatorship. These dark comedies range in shades from the heavily censored and misanthropic films of Ferreri with Rafael Azcona as scriptwriter or co-scriptwriter (El pisito

in The cinema of Álex de la Iglesia
The Last of England and The Garden
Alexandra Parsons

Mills, Derek Jarman's Medieval Modern , p. 163. 49 Ó Carragáin and North, ‘How Christian is OE Literature?’, p. 167. 50 André Bazin, ‘On the politiques des auteurs (April 1957)’, trans. Peter Graham, in Cahiers du Cinéma: The 1950s: Neo-Realism, Hollywood, New Wave , ed. Jim Hillier (Cambridge, MA

in Luminous presence
China and the concept of multipolarity in the post Cold War era
Nicholas Khoo and Zhang Qingmin

“Concert of Asia”?’, Policy Review , 108 (2001), 73–83. 106 Dale Copeland, ‘Neorealism and the myth of bipolar stability’, in Benjamin Frankel (ed.), Realism: Restatements and Renewal (London: Frank Cass, 1996), pp. 29–89. 107 John W. Garver, Foreign Relations of the People's Republic of China

in National perspectives on a multipolar order
Normative power or realist interests?
Gordon Crawford

theoretical account based on neo-­realism. This has little time for explanations based on constructivist notions of ideational diffusion, but explains EU foreign and security policy as a response to systemic changes in the structural distribution of global power, combined with the utilisation of EU institutions by its member states as a collective instrument to shape the external environment in ways favourable to their own national interests. Subsequently, authors such as Cavatorta et al. (2008) and Seeberg (2009) have applied a realist perspective to explain the EU

in The European Union in Africa
(Re)evaluating the EU–Africa relationship
Michael Smith

(Re)evaluating the EU–Africa relationship 15 European policies, African impact and international order: (re)evaluating the EU–Africa relationship Michael Smith As noted in several chapters in this volume, the European Union (EU)’s status as an international actor is contestable and (frequently) contested. There is a wide range of approaches to the external policies of the EU, ranging from those based on neo-­Realism and its related perspectives (for example Hyde-­Price, 2006, 2007), through to those based essentially on Liberal or neo-­Liberal institutionalism

in The European Union in Africa
Abstract only
John Phillips

the adventure of writing’ ( Pour une théorie du nouveau roman ). 20 In Angélique, ou l’enchantement , Robbe-Grillet bemoans the regressive theories of the Cahiers du cinéma group which promoted Bazin’s ‘simplistic neo-realism’: see Robbe-Grillet 1987 : 175–7. 21

in Alain Robbe-Grillet
Deneuve’s lesbian transformations
Andrew Asibong

possibilities of pleasure, celebration and professional success contained in women’s clothing, a moment when the fashion icon was permitted to change and to escape her frozen form of icy-blonde perfection. Notes 1 The most notable example of this is probably Italian neo-realism, when the use of non-star actors was an essential part of

in From perversion to purity