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Hugh Whitemore’s Pack of Lies, Concealed Enemies and Breaking the Code
Jonathan Bolton

Although the Hiss trial was decided forty years earlier, its outcome continued to divide conservative and progressive political interests in the mid-1980s, as Margaret Thatcher's close ally, Ronald Reagan, himself a former “friendly witness” in the House Un-American Activities Committee (HUAC) hearings, revived the Red scare in order to expand the military, undermine left-wing insurgencies around the world, and impede the spread of communism. The Alger Hiss case involved issues similar to those addressed in Pack of Lies , particularly the potentially intrusive use of

in The Blunt Affair
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Racial politics
Paul Newland

ABC Motion Pictures. Another film that demonstrates the problematical relationship between Britain and its disintegrating empire is Game for Vultures ( James Fargo, 1979), a Columbia Pictures thriller starring Richard Harris and Richard Roundtree. Set in the late 1970s, during the last years of the Rhodesian Bush War, this film tells the story of attempts by David Swansey (Harris) to import a number of helicopters which might be used in the fight against insurgents led by Gideon Marunga (Roundtree). Game for Vultures can be read in a postcolonial context – Rhodesia

in British films of the 1970s
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Bill Marshall

’Occident (1956), on the fall of France in 1940. The crisis evoked by Paulina s’en va, however, is not only that the desiring fantasies of childhood and cinema are failing to deliver, but that, as Hortense points out, there is no Prince Charming, no transcendence and no narrative of which to make sense. The only hint of the source of the insurgents’ actions is when Nicolas complains of a general evacuation of meaning (‘il y avait une parole, un sens pour tout, ils n’ont rien laissé’/‘There was a word, a meaning for everything, they have left nothing’), and Paulina’s drama is

in André Téchiné
Ruth Barton

-father (Byron Kumbula) by insurgents. New Boy ends with two of the boys, Christian and Seth (Fionn O’Shea), lined up against the wall with Joseph between them, all now in trouble following the playground fight. Refusing to snitch on each other, they watch Hazel remonstrating with the teacher. Joseph remembers his former classroom and begins to laugh. The two boys join him, and with mutual understanding established, their teacher forgives them. The conclusion speaks to a mode of soft multiculturalist orthodoxy that is familiar from other Roddy Doyle writings and whose

in Irish cinema in the twenty-first century
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya, and Janna Graham

postcolonial ties (Brambilla 2014). The Italian-Libyan agreement offers a model for similar deals with other African countries of origin and transit, linking economic aid and military support to border controls in order to prevent irregular migration and human trafficking.5 The Italian military mission in Niger approved by the Parliament in January 2018 is typical of these initiatives. The mission will see around 470 Italian troops join the French and US soldiers already stationed there to help President Mahamadou Issoufou better fight insurgents and control the country

in How media and conflicts make migrants
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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
James Chapman

counter-insurgency warfare that persisted for years thereafter. Minghella saw this as the context for Robin Hood: ‘There are some really obvious parallels with our world … It’s about a guy coming back from a foreign war he doesn’t believe in to find that all is not well … The thing that is different about our Robin Hood is that he’s essentially a pacifist.’49 Keith Allen, who played Vasey, the Sheriff of Nottingham, claimed that he based his character on the then Chancellor of the Exchequer Gordon Brown: ‘The Sheriff is very politically ambitious and sees himself as the

in Swashbucklers
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

dynamically as part of an intertextual quote, from the second line of a series of four quatrains in Gavroche’s song, C’est la faute à Voltaire, from Victor Hugo’s 1862 novel, Les Misérables (the words alternate with ‘C’est la faute à Rousseau’ in the fourth line). This celebrated song sketches a story of social disadvantage and exclusion through which joy is reversed into degradation, and Gavroche sings it as he stands amongst the insurgents of the Paris June Rebellion of 1832, fixing his gaze on the national guards attempting to shoot him. In the same way, Kechiche’s film

in Space and being in contemporary French cinema
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Philip Hammond

insurgents’ or ‘remnants of the Taliban regime’ and the International Security Assistance Force deployed since December 2001. Context The war in Afghanistan was justified primarily as an act of self-defence. Since US action was clearly taken in response to the attacks on New York and Washington, it may seem that the question of explanation is straightforward. However

in Framing post-Cold War conflicts