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Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

, it but serves to emphasize the reports, which for several months past have been reaching the outer world, of conditions which obtain in the stricken areas. ( Record , 1922b : 151–2) Although it is impossible to know how the audience felt retrospectively, we can reflect on the injunctions to feel and care made in the films. The controversial films discussed above stand close to another visual genre – that of atrocity images. As with certain photographic cases used in transnational networks – who denounced abuses in the colonies ( Twomey, 2012 ) – atrocity images

Journal of Humanitarian Affairs
Margaret Kohn

Philadelphia Story . In this response, I will make a qualified case for the opposite view and suggest that films and even television shows can be texts that encourage reflexivity about moral paradox, political obligation and community. I will do this through a reading of a more recent work in the genre of “the tragedy of remarriage”: the television show The Americans . The

in Cinema, democracy and perfectionism
John Street, Sanna Inthorn, and Martin Scott

popular culture may do to democratic culture. They are critical of what they see as popular culture’s formulaic and repetitive content (Adorno and Horkheimer 1979). They suggest that enjoyment of popular culture takes time away from activities that strengthen community ties and democratic culture (Putnam 2000). They imply that popular culture ought to make citizens well informed and instil in them a belief in their political efficacy (e.g. Kenski and Stroud 2006). The only forms of popular culture which survive comparatively unscathed from criticism are factual genres

in From entertainment to citizenship
The 2003 white paper
Steven Griggs and David Howarth

’s proposals in the ATWP. Drawing in part on the tools of criti­cal discourse analysis and rhetorical political analysis, which we articulate into our overall theoretical approach, we first explore the ATWP as a specific genre of political communication by investigating its logics of justification, instruction and consent. We then turn to an examination of the framing of the ATWP and its underlying problematisation, before providing the concrete detail of the govern­ment’s proposals for a viable policy of sustainable aviation. Here we concentrate on the way in which the New

in The politics of airport expansion in the United Kingdom
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The struggle for post-modern authenticity
Ivan Gololobov

that associates punk with postmodernism. Then I will attempt a critique of this approach and show why some authors convincingly argue that unlike other genres of popular music, punk is rather a reaction, and to a certain extent a revolt, against the postmodern condition. Discussing this paradox I introduce a response given to the tension between the postmodern attitude and a search for authenticity by the immigrant punks. This response is analysed in relation to the rebellious, revolutionary and transformative potential of punk, so crucial to its cultural identity

in Fight back
Open Access (free)
Thomas Dumm

argument against a specific film, indeed a genre of film, that he admires, and more generally the idea of film itself as a potentially positive force in democratic life. But here is my first problem. For me, the culture we create is something we also metaphorically swim in, the enormous intelligence whose lap we lie within, to twist awkwardly the words of Emerson. It may be of some value to think

in Cinema, democracy and perfectionism
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Discourses of normality and denormalisation in German punk lyrics
Melani Schröter

at how broader social factors – power relations, social hierarchies, symbolic capital (national/ethnic/group) identity – determine our uses of and attitudes toward language. Researchers critical of the social circumstances that determine our ways of speaking in various genres have thus developed what is known as Critical Discourse Analysis.4 Though not always explicitly drawing on Foucault – if to some degree influenced by his thinking about discourse and ‘knowledge’ – CDA understands discourse to both constitute and reinforce social reality via symbolic

in Fight back
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Úna Newell

Farry, Fergus Campbell, Joost Augusteijn and others have revealed the fact that Irish political experience is far more complex than the traditional one-dimensional Prologue xix popular version. Fitzpatrick has spoken of how ‘it is a regrettable historiographical accident that the political history of the Irish Revolution has hitherto been focused on Dublin, as though Dublin were the spiritual capital of Ireland’.3 This book builds on a significant emerging genre. It extends the historical debate beyond the Irish revolution and introduces a new study of post

in The west must wait
Christopher G.A. Bryant

a cause for celebration. Such a future is not guaranteed but cosmopolitan England already has enough substance to allow rejection of Marquand’s supercilious charge that England has not even the potential to stand for anything worthwhile. This chapter belongs to the genre Anthony Giddens (1990: 154) calls utopian realism. It is utopian insofar as it treats cosmopolitan England

in These Englands
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William Trevor’s portrayals of the Irish in London during the Troubles
Tony Murray

allegiances during times of political violence. But while numerous novels were written about the Troubles over their thirty-year history, few looked at how the conflict impacted upon the people of London. A significant percentage of ‘Troubles thrillers’, as they became known, were set in London,1 but, like their parent genre, tended to sensationalise the role of the IRA. While this ensured a certain dramatic purchase, it also tended to obscure the influence of the Troubles on ordinary people’s lives. As a consequence, the image that we have inherited of London and its

in The Northern Ireland Troubles in Britain