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Abstract only
Scott Wilson

culture. Nike have been able to survive bad publicity concerning exploitative conditions of production in Vietnam and China through the utilisation of the cultural cool and hip sophistication of the descendants of slave labour. Indifferent to labour conditions in the East, white kids in the suburban malls will buy anything authenticated by the sovereignty of AfricanAmerican non-productive expenditure, the enjoyment embodied by the gangsta or African-American sporting hero. The disaffected son of the retired CIA agent played by Robert de Niro in 12 Great Satan’s rage

in Great Satan’s rage
Scott Wilson

don’t give a fuck like we don’t give a fuck, put your muthafuckin’ hands in the air’ (Snoop Doggy Dogg, ‘For all my Niggaz and Bitches’, 1993). Picking up on the sovereign indifference of the niggas with attitude ironically played upon by Snoop Dogg on Doggystyle (1993), white kids, similarly indifferent to labour conditions in the East, buy anything that might be associated with the power and enjoyment of the gangsta or African-American sporting hero. At the same time, Nike also overcome such bad publicity through their use of positive advertising which is conveyed

in Great Satan’s rage
Gender (and) politics in Colombian women’s documentary
Deborah Martin

does not, however, ultimately resist the desire to re-fix meaning through the reification of woman. The film centres on the Castañeda family, who are brickmakers ( chir caleros ) suffering extreme poverty and horrific labour conditions in an ‘urban latifundium’ 4 of Bogotá. Anthropologically oriented, it combines still photography of the workers and haunting periods of silence, a God-like narrator and

in Hispanic and Lusophone women filmmakers

labour conditions, environmental standards, the sharing of economic benefits and other locally important concerns such as the protection of sacred sites. Social licensing in mining was defensively adopted by an industry distrusted by stakeholders and threatened by opposition groups and has often been contained at local community level. Its subsequent history shows that it is not a policy fix but a work in progress, which depends on community social capital and the political articulation of demands by networks of stakeholders at regional and national levels necessary to

in Foundational Economy
Abstract only
Andrew Dix

regard to this early time, then, star studies should free itself from an exclusive focus on film texts themselves so as to incorporate analysis of the star’s extension across other elements of the commodity world. The commercial exploitability of the star has increased exponentially in subsequent decades. From the 1950s onwards, however, Hollywood has also witnessed the star’s relative autonomy compared with the cramped labour conditions of the classical era. The collapse of the studio system under economic and legislative pressures discussed in Chapter 9

in Beginning film studies (second edition)
A history of Korean cinema
Hyangjin Lee

government control over the industry. By avoiding the old traditional stories depicting love affairs or entertainment-oriented themes in conventional manners, they provide a fresh look into the fundamental preoccupations of average Koreans, such as the labour conditions, democratisation movements, political corruption and various kinds of contradictions latent in their everyday life. They also reinterpret the socio

in Contemporary Korean cinema