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Ian Scott
Henry Thompson

conservative in the Eisenhower era believing that the US mission was to fight communism, is not an altogether unique parabolic curve of enlightenment for those scarred by war. His father taught his son to fear the Russians, so he volunteered for Vietnam and found the outside world’s complexity in the jungles of South-​East Asia. However, he also found a very different American social milieu there from the middle-​class Manhattan existence into which he had been born. Combat did not radicalise him politically straightaway, but the shock treatment woke him up to institutional

in The cinema of Oliver Stone
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Lez Cooke

they said come in and talk about it.3 In the period between his national service ‘gig’ and the writing of Incident at Echo Six Kennedy Martin had written a novel, Beat on a Damask Drum, which, although it was set in South East Asia rather than Cyprus, also dealt with a group of men in a war situation, an elite multinational unit carrying out undercover operations. Ostensibly a war novel, Beat on a Damask Drum is surprisingly lacking in action scenes, until the end of the book when the reality of war is vividly described as the group go on a suicidal mission behind

in Troy Kennedy Martin
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Hyangjin Lee

–Reischauer system, except in cases where a different method has long been established, such as Juche , Syngman Rhee, Park Chung Hee, and so forth. With regard to personal names, I adopted those whose English spellings are consistent. For those names whose English spellings are inconsistent, the modified MacCune–Reischauer system was applied throughout this book. In East Asia, the family name comes before the given name. I

in Contemporary Korean cinema
Black Audio Film Collective and Latin America
Paul Elliott

ideas and aesthetics formed outside of North America and Europe. Films like The Nine Muses (2010) and Vertigo Sea (2015) draw from a variety of influences but it is possible to discern reflections of the work of Latin American directors like Lissandro Alonso and Carlos Reygadas, Indian directors like Ritwak Ghatak and Mani Kaul, and South East Asian directors like Apichatpong Weerasethakaul and Lav Diaz. 37 Migration and the experience of the Homeric wanderer become central images in all of these texts and take an increasingly central role in Akomfrah’s films

in British art cinema
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Barry Jordan
Rikki Morgan-Tamosunas

Spanish films than ever are finding their way into foreign markets (including Korea and South East Asia). Overall levels of quality and production values are much improved. The sheer variety and commercial appeal of contemporary Spanish cinema is remarkable (given the size of the industry) and Spanish films and directors are picking up numerous prizes and awards both at national and international film

in Contemporary Spanish cinema
Mark Bould

(Gabriel Byrne), which owns a blocking minority of Phenix stock, bought with a loan Phenix must now repay. Marc's wife, Diane (Natacha Régnier), repeatedly urges him to resign, return to academia and write his own books, but he finds himself intrigued by Phenix's London-based East Asian specialist Maud Baron (Céline Sallette) and drawn to – or perhaps lured by – the supermodel Nassim (Liya Kebede). Marc hires a detective, Rameur (Philippe Duclos), to investigate his rivals at the bank and Dittmar's circle, as well as Nassim and Maud. Marc also turns to Craillon

in The films of Costa-Gavras
Douglas Morrey

factories of Eastern Europe or the sweatshops of South-East Asia and, moreover, a film that seeks not to excite the pity of a bourgeois western audience but to examine the concrete conditions of possibility of a socialist revolution. The fact remains, churlish as it may appear to say it, that Pravda is not a lot of fun. Godard, over this period of his career, repeatedly cited Chairman Mao’s assertion that ‘la révolution n

in Jean-Luc Godard
Spanish horror film in the marketplace
Antonio Lázaro-Reboll

English-speaking territories for $4 million. This commercial operation, plus other major pre-sales to European, Latin American and East Asian territories, helped boost the budget to $11 million. The film’s financial success during the production process was confirmed in its world première in Sitges at the 35th International Film Festival of Catalonia, a key moment in the international horror film calendar

in Contemporary Spanish cinema and genre
Valentina Vitali

depended on the US being prepared to run deficits with the rest of the world and to absorb any excess production within its border, enabled other countries to expand their export markets – first Germany and Japan, then, in the 1960s, France and Italy, but also, unevenly, across Latin America and parts of South-East Asia. In the advanced capitalist countries, redistributive politics, control over the free mobility of capital, expanded public expenditures and welfare state building, active state interventions in the economy, and some degree of planning of development went

in Capital and popular cinema
The news media and war from Vietnam to Iraq
Piers Robinson
Peter Goddard
Katy Parry
Craig Murray
, and
Philip M. Taylor

mirrored the debate within the US foreign policy establishment. The scope of reporting had by now extended to embrace a ‘sphere of legitimate controversy’, involving procedural news media criticism pertaining primarily to whether or not the US was winning the war in South East Asia. Importantly, however, US news coverage never moved beyond this point into a ‘sphere of deviance’ whereby fundamental or substantive-level criticisms of the legitimacy of US action in Vietnam were made. For example, some US citizens had come to view the war in Vietnam as both immoral

in Pockets of resistance