Cinema has been an object of study for the social sciences for some time now. The relationship between law and cinema has been the subject of a certain number of reflections by jurists who work essentially within a national legal framework, and from the true genre that courtroom movies have become. One can point also to studies linking cinema and international relations. In short, the relationship between international law and cinema has never been the subject of a specific book. The objective of the present book is to show what image of international law and its norms is conveyed in films and series. Beyond a strictly legal analysis, the ambition is to take into account, in a broader perspective marked by interdisciplinarity, the relations between international law, cinema and ideology. The volume is aimed at a readership made of scholars, researchers as well as practitioners, in the field of international law, and related fields, all of whom will benefit from being introduced to a variety of perspectives on core international legal questions present in movies and TV series. Further, the volume can also be used with advanced undergraduate and postgraduate students studying international law, politics and international relations because it will provide the possibility of introducing students to a variety of perspectives on key issues in international law present in movies and TV series.
useful references for studying French cinema and its history of representing the Second World War. Recent works from Frodon ( L’age moderne du cinéma français , 1995 ), Fournier Lanzoni ( French Cinema: From Its Beginnings to the Present , 2002 ), Jeancolas ( L’histoire du cinéma français , 2005 ) and McLaughlin ( French War Films and National Identity , 2010 ) demonstrate the manner in which an inclusive approach can canvas many different lines of inquiry: social, historical and cinematic studies. We must also mention the works of Lindeperg, Langlois and Hewitt
’s longstanding interest in dysfunctional families this would be a fruitful arena for future scholarship. With regard to artificial organs, my primary focus is human allograft, though I acknowledge that ventilators and dialysis units are already extracorporeal artificial organs. Xenotransplantation has been part of the history of transplantation experiment from the start, and a monograph exclusively exploring literary and cinematic study of xenotransplantation Gothic would draw on emerging scholarship on the treatment of non-human animal bodies within the contemporary