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Jack Holland

Ibid . 64 Ibid. In one telling quote, Simon reveals: ‘Compared to The Wire ’s Greek tragedy, “we’re really more in the Shakespearean construct of … The individual and the interior struggle for self. Macbeth and Hamlet and Lear and Othello. These are the great tragedies – the dramatic branch that leads to O’Neill and our modern theater. But I saw a version of Aeschylus’s The Persians done on the stage in Washington, and it made my jaw drop. They put it on during the height of the insurgency in Iraq – after that misadventure in Iraq had made itself apparent

in Fictional television and American Politics
Fernando Arrabal and the Spanish Civil War
David Archibald

Melilla was the location from which the insurgents launched their rebellion. (Thomas, 2003 : 204) 2 The phrase, the motto of the Spanish Foreign Legion, was popularised by José Millán-Astray, the Legion’s founder. During an infamous exchange with the Basque philosopher Miguel de Unamuno at the University of Salamanca in October 1936, Astray declared: ‘¡Mueran los intelectuales! ¡Viva la Muerte!/Death to intellectuals! Long live death!’ (Thomas, 2003 : 486–8) 3 That the Surrealist artist José Caballero designed Nationalist propaganda posters during the conflict

in The war that won't die
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Scott Wilson

brought to a close by the attack on the Pentagon and the World Trade Center on 11 September 2001 (2005: 95–107). The cold war that was defined by the nuclear stand-off between the US and USSR after world war two began to unwind with the USSR’s debilitating war in Afghanistan in which the US-funded Mujahideen insurgents exposed the weakness of the Soviet military outside their spectacular Kremlin displays. The war crippled an already weak Soviet economy, forcing President Gorbachev to withdraw his troops in 1989, the year the Berlin Wall came down. Ironically, a civil

in Great Satan’s rage
Out of place with The Smiths
Nabeel Zuberi

and modified the territorialist phrasing of this song title from the Irish nationalist poetry of Jane Francesca Wilde (a.k.a. Speranza).19 Today, it sounds like an insurgent call to arms for the liberation of ‘Muslim lands’ from occupation. Mike Joyce plays a short martial drum pattern. Morrissey’s voice fades in, indistinctly at first. The lyrics on the inside sleeve reveal that the word is ‘hello’, though with so much reverb it sounds like the first wafting call to prayer. I want to hear Morrissey’s glossolalia in so many songs as homage to the ululation of Arab

in Why pamper life's complexities?
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Nick Crossley

’ whose decisions in some ways still betray their punk origins. Even if punk and post-punk were not significant topics in their own right, however, the dynamics of their emergence and diffusion would be. If we abstract from their concrete content, the punk and post-punk worlds and their emergence manifest processes and mechanisms of collective action and mobilisation which are common across a range of social worlds and movements, from political insurgencies and social movements through criminal underworlds to the conspiratorial circles 4 Networks of sound, style and

in Networks of sound, style and subversion
Open Access (free)
Ian Scott and Henry Thompson

reconstruction debacle that unfolded in Iraq after the fall of Saddam Hussein. Through it all, Bush had retained the presidency in 2004. However, when domestic Wa r controversy intervened –​namely the sluggish, some said absent, reaction to Hurricane Katrina in August 2005, which destroyed large swathes of New Orleans and Louisiana –​Bush’s approval ratings plummeted in his second term, driven further down by the insurgency in Iraq that made the US mission anything but accomplished from 2005 to 2008. In the midst of the administration’s decline, in April 2007, a draft

in The cinema of Oliver Stone
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Andrew Dix

production rather than that hand-to-mouth practice evoked by Third Cinema’s theorists. This relative privilege can, at moments, be detected in the text itself. Although the use of infra-red photography, for example, aptly suggests at the narrative level an operation of insurgent counter-surveillance, it also cannot help but speak at the formal level of the filmmakers’ technological advantages. Terms of economic and cultural trade favourable to the West are most apparent when considering the film’s very subject matter. Winterbottom, Grisoni and their UK

in Beginning film studies (second edition)
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Jonathan Driskell

attitude towards the police at the time. By May the situation would have intensified, as Ross ( 2002 : 27) explains: ‘Sometime around the middle of May 1968 … the policeman’s club or matraque had become for the insurgents in the streets a pure synecdoche for the State.’ The scene above is also in keeping with Carné’s long-standing preoccupations, with the police representing the oppressiveness of society

in Marcel Carné
Derek Schilling

’ clout behind the French New Wave, which was faltering after 1961, and the emergent cinemas of Brazil and eastern Europe (De Baecque 1991 : II, 21–6). Directors as important as Fellini and Antonioni had until then met with cautious praise, as if any deviation from a strict pro-Hollywood line would throw the Cahiers off course. From the outside, the journal seemed out of phase with a changing world, where insurgents in Europe

in Eric Rohmer
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Scott Wilson

’, suggests Rich Johnston, ‘is the ultimate fantasy neocon, in that his might makes right. And he is always fighting on the side of good, without unfortunate consequences such as insurgency, faulty intelligence or Guantanamo Bay’ (cited in The Times, Times2, 11 July 2006). Johnston’s reference, however, is to the Superman of Marvel comics rather than to Nietzsche’s altogether more enigmatic figure, located beyond good and evil, whose possibility also enchanted the intellectual masters of neoconservatism. ‘I teach you the Superman. Man is something that should be overcome

in Great Satan’s rage