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Kerry Longhurst

developments in German security policy since 1989. The aim of this chapter, consequently, is to consider the concept of strategic culture in greater detail and to locate it within the field of security studies. Contending approaches Neo-realism and German normalisation As the Cold War came to a close, a frenzy of analysis on the future of German security policy emerged. Consideration of how German post-Cold War security policy might develop reflected a far broader and fundamental discussion, within the discipline of international Longhurst, Germany and the use of force

in Germany and the use of force
Abstract only
Sam Rohdie

), the history of the cinema (the films of the Soviet Union in the 1920s, Chaplin, the Nouvelle Vague, Italian neorealism, the studio system under Irving Thalberg) and the stories (histoires) of films evoked by cited fragments (from The Searchers (1956), M (1931), Ordet (1925), Potemkin (1925), Broken Blossoms (1919), La Règle du jeu (1939), Cries and Whispers (1972), Gigi (1958), Paisà (1946)), the history of art (Van Gogh, Picasso, Goya, Rembrandt, Utrillo, Matisse, pornography), all notable for their range, differences and distance from each other, are criss

in Film modernism
Abstract only
Laura Moure Cecchini

‘plastic congestions’ that make her ‘leavening and contorted in a funeral baroque tenderness’. 21 Yet this visual rhetoric now thematised neorealism rather than the frondist realism of the 1930s . 22 Depicted in Leonardi's sculpture is Teresa Gullace, shot by a Nazi soldier while trying to speak with her imprisoned husband. Illustrating the climactic scene of Roberto Rosellini's iconic neorealist movie Rome Open City (1945), where she is

in Baroquemania
Naomi Head

underpinned neorealism and neo-liberalism. 3 The end of the Cold War, which no theoretical approach in IR had predicted, dealt a powerful blow to neorealism given the latter’s understanding of the limits of change in an anarchic system. 4 Neorealism became the target of criticism that it reified a particular international order which privileged the interests of certain dominant states and therefore served

in Justifying violence
Abstract only
Rob Stone

Neo-realism As Schrader contends, realism was key to the tone and mood for it ‘succeeded in breaking film noir away from the domain of high-class melodrama, placing it where it more properly belonged, in the streets with everyday people’. 19 Although the conventions and meanings of realism were already evident, perhaps coincidentally, in a few of the rural dramas of the 1940s, Italian neo-realism reached Spain in 1950 with a

in European film noir
Raymond Hinnebusch

relations, this study will deploy a combination of several to capture its complex reality. The Middle East is arguably the epicentre of world crisis, chronically war-prone and the site of the world’s most protracted conflicts. It appears to be the region where the anarchy and insecurity seen by the realist school of international politics as the main feature of states systems remains most in evidence and where the realist paradigm retains its greatest relevance. Yet neo-realism’s 1 a-historical tendency to assume states systems to be unchanging

in The international politics of the Middle East
A theory of foreign policy
Stephen Benedict Dyson

behave in accordance with the logic of the situation, and if it does not, is subject to punishment in terms of diminished security. This is the logic of neorealism, the dominant theoretical perspective in international relations for nearly thirty years.2 The logic is powerful, compelling, and a source of great insight into recurrent patterns of behaviour at an aggregate level such as war, balancing, and alliances. It is also a profoundly under-determined account of the foreign policy of a given state in a given situation. With the sole system-level variable in play

in The Blair identity
Abstract only
Sam Rohdie

of other events essentially of relations of the characters to each other and to the places in which the events occur: the streets and squares of Turin, railway stations, restaurants, bars, fashion houses, hotel rooms, the beach. The use of locations by Antonioni was, relative to the period and certainly relative to Italian neorealism, unique. The locations were not decor background, fixed and intert, or atmosphere, or metaphor, or realistic background to a drama, but a relationship of the characters to where they were. The relations of characters to each other

in Film modernism
Abstract only
Sam Rohdie

fiction and their semblance and which the film declares. Partner was shot during the May Events in 1968. It is a film of shot sequences rather than frames as if each sequence is an autonomous film. The shot sequence historically has been thought to provide greater realism than the classical film of a tight editing of frames. André Bazin asserted the greater realism of the shot sequence, typified in the films of Italian neorealism (De Sica, Rossellini) and in the films of Orson Welles, where reality, for Bazin, remains intact spatially and consistent temporally unlike

in Film modernism
Alison Smith

a Mediterranean fishing community which also explores the contradictions of a relationship, made her a modest name as a young director at the fringes of Italian neo-realism (although she was totally ignorant of the movement at the time). A few years later La Pointe Courte was to be heralded as an early forebear of the Nouvelle Vague. Cléo de 5 à 7 , appearing in 1961 as the Nouvelle Vague reached its peak, followed a

in Agnès Varda