numerous initiatives by the EC, the United States, the UN, Nato and other international actors, including: imposing economic sanctions against Yugoslavia and providing humanitarian aid; deploying UN peacekeepers and establishing ‘safe areas’; mediating in ceasefires and hosting peace conferences; brokering an alliance between the Bosnian Muslim and Croatian governments; setting up a war crimes tribunal
passer somehow procured from the International Red Cross. In 1960 he was captured by the Israeli Mossad (foreign intelligence service) in Buenos Aires, and brought back secretly to Israel in an ElAl plane. A year later he stood trial before an Israeli court in Jerusalem, accused of fifteen war crimes and crimes against humanity. After being found guilty he was sentenced to death, the only death sentence ever imposed in Israel. I got involved with Eichmann’s story twice, in two totally different ways, once as a broadcaster and once as a filmmaker, and this chapter
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.
This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
subsequent months, twenty-five of Japan’s military leaders were tried for war crimes by the Military Tribunal of the Far East – seven were hanged while local military commissions condemned a further 920 war criminals to death and over 3,000 to prison.2 But further trauma to Japanese self-image was to follow as, until 1952, Japan’s entire cultural tradition was subject to radical and enforced transformation at the hands of the American Occupation. Introducing a new constitution, the Americans revised the education system ‘with the aim of eliminating propaganda and the
form of indirect self-justiﬁcation, since both deal with issues of guilt and retribution for war crimes and collaboration. And though the fourth ﬁlm in this cycle, Miquette et sa mère, is a rather plodding adaptation of a Belle Epoque boulevard comedy, it does at least show how within ﬁve years of the war’s end Clouzot was ﬁrmly re-established as a mainstream director. Two of Clouzot’s post-war ﬁlms have achieved popular and critical success: Quai des Orfèvres (1947) attracted over ﬁve million French spectators and was awarded a prize for best director at the Venice
governmental deceit, betrayal, war crimes, apathy and denial. And, as any analyst will tell you, a dream only recurs when the dreamer repeatedly fails to understand the message that the dream is trying to bring to light. Conversely, as long as the dreamer fails to understand the meaning encoded in the dreamwork, the dream will continue to recur. In his recent acceptance speech upon receiving the Nobel
. Barbie is in fact an absence rather than a presence in the film – he was not present at the trial until the verdict – while Ophüls establishes a running contradiction between the testimonies of Barbie’s colleagues, both in Germany and the Americas, and of his victims. Partly because it concerned war crimes committed by a German Nazi rather than French collaborators, Hôtel Terminus proved less controversial than
characterisation of its central character. Chev Chelios is a British paid assassin working in Los Angeles. In the opening section of the film, he finds himself caught in counterplots between two warring crime syndicates, as well as being targeted by a new aspiring gunman, Ricky Verona (Jose Pablo Cantillo), who wants to usurp him. Verona injects Chelios with a synthetic drug which will
man who is willing to take horrendous steps against civilians’ (Julian Brazier, MP) Criminal ‘an indicted war criminal’ (Tony Blair) ‘an indicted war criminal’ (Foreign Secretary Robin Cook) ‘an indicted war criminal’ (Labour MP) ‘a prime candidate for trial [for war crimes
of fractured flashbacks Joey’s past is revealed: he is a deserter who has committed war crimes in Helmand Province. Sleeping rough in London’s Soho and suffering from PTSD, he lives under constant threat from a pair of thugs who terrorise the homeless. After one particular attack Joey retaliates and is chased until he literally falls on his feet as he tumbles into a deserted, but decidedly