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Stuart Kaufman

peace-building programmes. While each side needs to adjust and accommodate to the other, the onus is on US and European officials to take the lead in encouraging, funding, coordinating and smoothing the way for the NGOs to do their work in places like Bosnia, Macedonia and Karabagh. Such a transformation does not presently seem to be in the offing. And that means that peace in all three regions will remain tenuous at best. Notes 1 Randall L. Schweller, ‘Neorealism’s Status Quo Bias: What Security Dilemma?’, Security Studies, 5:3 (1996), pp. 90–121. 2 A recent

in Limiting institutions?
Abstract only
Robert M. Hendershot and Steve Marsh

.’ 5 The theory of neorealism or structural realism, which holds that any state’s relative power, self-interest, and structural constraints are the most important causal factors directing its foreign policy, 6 has been particularly influential in the field. In this school of analysis, the special relationship is generally portrayed as developing from shared and overlapping national interests that formed a utility-based partnership. Numerous accounts focus on one or more aspects of this functional dynamic, particularly defense, nuclear and intelligence cooperation

in Culture matters
Is the CFSP sui generis?
Jakob C. Øhrgaard

? It is clear from the above that CFSP presents a serious challenge to mainstream international relations theory. This challenge is two-fold. First, traditionally dominant strands of international relations theory, such as (neo)-realism or neo-liberal institutionalism, appear ill-equipped to account for some of the defining characteristics of CFSP. The traditional realist paradigm, with its emphasis on differing national

in Rethinking European Union Foreign Policy
Stephan Frühling and Andrew O'Neil

characterised alliances as a by-product of the balance of power. As the balance of power shifted over time among states, so too did alliances, as they were based on shared interests in the balance of power, rather than shared interests per se. As the doyen of neorealism Kenneth Waltz observed, ‘alliances are made by states that have some but not all of their interests in common. The common interest is ordinarily a

in Partners in deterrence
Mourning and melancholia
Guy Austin

echo of 1969. Rome plutôt que vous is also embedded in contemporary social realities. Its title refers to a football song from the terraces of the Algiers team USM Alger (see Zahzah 2007 ). The cast are nearly all non-professional actors, including Rachid Amrani who was spotted in the street before joining the cast, recalling the practices of neo-realism and the provenence of Brahim Haggiag as Ali La Pointe in La Bataille

in Algerian national cinema
Stefania Parigi

cinema. Ossessione was a film-manifesto. It severed itself from the cinema of the past and opened the way for a new cinema, that of Italian neorealism. In the five years between Ossessione and La terra trema , Visconti actively participated in the struggle for liberation from fascism and the Nazi occupation and for which he was imprisoned. In the immediate post-war period, Visconti worked in theatre, where he staged plays

in Cinema – Italy
Abstract only
Andrew Spicer

circumscribed and with no space for the psychological development or moral ambiguity that characterise film noir. However, it was the impact of neo-realism that allowed noir themes and characterisation to emerge in Nieves Conde’s Surcos ( Furrows , 1951) and Juan Antonio Bardem’s ‘deeply subversive noir hybrid’, Muerte de un ciclista ( Death of a Cyclist , 1955) with its paranoid, tormented male protagonist and vengeful femme

in European film noir
Open Access (free)
Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

and to judge its success in achieving that object. This does not mean accepting every film at its own valuation; it means allowing every film to justify itself by its own standards, not by our preconceptions’. 12 Anderson was thus advocating a basically aesthetic approach to the art of film. In a later article, ‘A Possible Solution’ (1948), Anderson was enthusiastic about Italian neorealism, the

in British cinema of the 1950s
Sylvie Magerstädt

the few significant television dramas dealing with Greek myth rather than Roman history. Second, it is also significant from an aesthetic point of view, as its experimental visual style with nods to Italian Neorealism is in stark contrast to other productions of TV antiquity. Finally, it enables me to at least briefly include a take on TV antiquity that is connected (yet different) to the Italian peplum films made during this decade. Overall, as we will see, productions used various experimental techniques to take advantage of the new serial format and create

in TV antiquity
Brett Bowles

minutes but would prove seminal in the development of Pagnol’s career, establishing his work as an echo of pictorialist naturalism and a precursor of Italian neo-realism. Unlike his predecessors in silent cinema and the immediate post-war work of Roberto Rossellini and Vittorio De Sica, Pagnol was not limited by technical or financial constraints and insisted on synchronous sound recording because of his preoccupation with authentic

in Marcel Pagnol