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Jason Toynbee

and deference, or ‘knowing one’s place’, were breaking down.11 It is difficult to be precise about the specific kind and direction of causes here, but they were surely multiple and included agitation by one group of insurgents of another, for example students inspired by workers; formation of new class fractions such as a young, technically educated middle class; and resistance to old forms of authoritarianism, THE CLASH, REVOLUTION AND REVERSE 39 for instance legally enshrined racial domination in the United States. The key point is that underlying all these

in Working for the clampdown
The Clash, left melancholia and the politics of redemption
Colin Coulter

?’. Insofar as ‘Straight to Hell’ enjoys any widespread public recognition, it does so primarily because of its association with another song that borrows explicitly from it. Since the mid-2000s, Mathangi ‘Maya’ Arulpragasam has produced music that splices together a giddy diversity of contemporary urban and global styles. The songs that she records under the stage name M.I.A. often draw heavily on the singer’s personal experience of violence and displacement. The daughter of a senior figure in the Tamil insurgency, M.I.A was forced to flee her native Sri Lanka as a child

in Working for the clampdown
Jonathan Bolton

pioneer of British counter-insurgency measures and psychological operations. 15 This taught opening scene links the leisured lifestyle of the upper classes to conservative politics, particularly outmoded imperialist sympathies. Cavendish's right-wing views are confirmed soon after the arrival of a stranger, Daniel Young, who claims to be a graduate student doing a thesis on Cavendish, who one learns is a renowned writer of children's books and a former Cambridge don. Like the heroine of Coleridge

in The Blunt Affair
Generic hybridity and gender crisis in British horror of the new millennium
Linnie Blake

between Van Zan and Quinn’s schools of masculinity drives the narrative. In a manner that is reminiscent of the ways in which Americans ‘taught’ the British how to defeat fascism in the Second World War and are currently ‘teaching’ them how to root out terrorist insurgency in Iraq and Afghanistan, Van Zan demonstrates how the American capacity to think the unthinkable, the rebel’s capacity to yell in the face of overwhelming odds, might lead humanity to freedom. But for all Van Zan’s impressively muscled physique, for all his breathtakingly anachronistic display of

in The wounds of nations
Hollywood, Christians and the American Culture Wars
Karen Patricia Heath

early 2000s when he offered a heartfelt description of the ‘huge war raging’ over his film. Although in this interview, Gibson did not specifically use the phrase ‘Culture War’ or ‘Culture Wars’, clearly, the war he referenced was a cultural one of ‘big realms that are … battling’ (quoted in Boyer 2003 ). Gibson’s comments were very similar to those of a once-insurgent candidate for the Republican presidential nomination, Patrick J. Buchanan, who on 17 August 1992 spoke to the Republican National Convention of ‘a religious war going on in our country for the soul of

in The Bible onscreen in the new millennium
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Costa-Gavras and microhistoriography: the case of Amen. (2002)
Homer B. Pettey

participating in the construction of the investigation, which is similar to the manner in which Costa-Gavras draws his audience into piecing together the story. 29 Costa-Gavras focuses on secondary, sometimes incidental, characters as witnesses to a larger macrohistorical narrative, among them: the Examining Magistrate (Jean-Louis Trintignant) in Z , loyal Communist Artur Ludvik (Yves Montand) in L’Aveu , counter-insurgency expert Philip Michael Santore (Yves Montand) in État de siège , bereaved father Edmund Horman (Jack Lemmon) in Missing , Israeli defense attorney

in The films of Costa-Gavras
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Scott Wilson

package ready to be unleashed on its hearer like a destablising weapon. The US military has also used heavy metal (though not specifically death metal) in military actions against Iraqi insurgents in Fallujah and to torment Iraqi prisoners (see DeGregory, 2004 and BBC News World, 2003). Beyond transgression, reportage and critique, Bogue argues that ‘the most fundamental motive in death metal lyrics is to evoke an experience of the body, a libidinal dissolution of the self and of the organism as integrated system … an intensive, acentred, prepersonal, and preindividual

in Great Satan’s rage
Toward a musical poetics of The Smiths
Jonathan Hiam

future war / Was all I saw on Channel Four’), and boring as a result. Morrissey’s call for a shoplifters’ revolution can be taken as either a genuine but feeble clarion for insurgency, or as ironic futility.5 Either way, the tone of his voice gestures toward a feeling of powerlessness and alienation. On the surface, the music seems to support such a bleak worldview. The dull repetition embodied by the lyrics at the opening of each verse is reflected in the music as a singular, repetitive E chord, which changes only briefly to accentuate the close of each metrical unit

in Why pamper life's complexities?
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Algerian national cinemas
Guy Austin

of communal and class identities within anti-colonial insurgency, they tend to neglect questions of gender. In her critique of Chatterjee, Gayatri Spivak notes that ‘a feminist historian of the subaltern must raise the question of woman as a structural rather than marginal issue’ (Spivak 1996 : 230). This is in a sense what Ranjana Khanna does in writing about Algeria (see Khanna 2008 ). If I have used Pierre Bourdieu

in Algerian national cinema
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Martin O’Shaughnessy

army, he is captured by insurgents but treated with a kindness and generosity that is singularly lacking in the Europeans. He informs Camilla that there would be no room for her precious golden coach on the narrow paths used by the Indians, who by implication are not tainted by materialism. This stereotype of the innocent and happy savage is typical of a Eurocentric outlook that instrumentâlises non-Europeans to generate

in Jean Renoir