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Ruth Barton

Sheridan, 1997). Following these, he gained international recognition with Hotel Rwanda (2004) which he also directed. By his own admission, he struggled to repeat the success of the latter film, and so went back to Northern Ireland to film a story, or version of it, he had heard in his childhood. The reworked narrative concerns the return to Northern Ireland after many years in America of Jim (Ciarán Hinds), now travelling with his daughter, Pat, played by Irish-born Kerry Condon. She persuades him to reconcile with his ‘blood brother’, Pat (Conleth Hill), who has

in Irish cinema in the twenty-first century
Engaging with ethnicity
Joseph McGonagle

lexis is not incidental: some permit viewers to learn new information such as which people are disabled (placed under ‘handicap’) and two girls’ supposed country of heritage (‘Rwanda’). Arguably then, despite Choquer’s presentation of the vast majority of his images without titles or accompanying text, word–image interaction occurs nevertheless: the categories through which they are accessed impinge, however subtly, upon reception of them. As Clive Scott (1999: 73–4) has argued: Because the photograph, at its taking, is pragmatic rather than semantic, indexical rather

in Representing ethnicity in contemporary French visual culture
The Last King of Scotland and post-imperial Scottish cinema
Christopher Meir

underpinning the atrocities. The film then ends pessimistically as Quayle, powerless to stop the corporations which are working with the protection of the British and Kenyan governments, virtually commits suicide while his accounts of what is going on in Kenya are smuggled to his wife’s cousin who melodramatically reads them out at Justin’s funeral, symbolically communicating the truth to the West. Shooting Dogs deals with the genocide of ethnic Tutsis in Rwanda in 1994, centring on a school run by a British expatriates Christopher (John Hurt), who is a priest and headmaster

in Scottish cinema
Derek Paget

Johnny Cash (Walk the Line). Docudramas have continued to revisit events from recent history – often employing the rubric of an his- Introduction to the second edition 5 torical anniversary. In 2005, ten years after the Rwandan genocide, there was Terry George’s Hotel Rwanda; Raoul Peck’s Sometimes in April; Michael Caton-Jones’s Shooting Dogs; and Nick Hughes’s 100 Days. In 2006 the historical sore of 9/11 was picked at in Paul Greengrass’s Flight 93 and Oliver Stone’s World Trade Centre. The more distant past, too, has been mined for its suggestive parallels with

in No other way to tell it
Wildlife documentaries on television
Thomas Austin

well known personality, each documentary will highlight the plight of some of the world’s most endangered animals, including the Orang-utans of Borneo, Kenya’s Black Rhino, Rwanda’s Mountain Gorillas and the Giant Leatherback Turtles of French Guiana.’ The channel’s ‘sponsorship opportunities’ information clarified the commercial logic behind this initiative. The proposed benefits to potential sponsors of the show included: ‘opportunity to communicate with a younger group of viewers, averaging higher disposable income than their terrestrial counterparts’ and ‘salient

in Watching the world
Temporal origami in the Towneley Herod the Great
Daisy Black

. The desperate, yet comic tone of these pageants not only raises problems for academic critics; it also seems to work counter to a modern desire to make the plays’ violence, as director Roland Reed said of the York Slaughter of the Innocents , ‘immediately and horrifyingly relevant to our time’. 2 This awareness directed Reed’s production for the 1999 University of Toronto festival, aiming to ‘liberat[e] the biblical story from the prison of the past’ by drawing on contemporary incidents of violence in Afghanistan, Chechnya, Iraq, Kosovo, Rwanda and Somalia

in Play time