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The structures of migration in Tales from Firozsha Baag
Peter Morey

and flapping lips appeased everyone. A general tittering spread through the assembly. Rustomji the clown was triumphant. He had restored to himself the harmlessness of the original entertaining spectacle’ (TFB, 18). This moment has been seen as an instance of Mistry consciously reworking the well-known stereotype of the Parsi bawaji, beloved of Indian film directors for generations. Tanya Luhrmann describes how this figure is typically ‘an old, eccentric man, the kind of elderly man who needs to get off the bus, battling his way to the door, at exactly the wrong

in Rohinton Mistry
The failure and success of a Swedish film diversity initiative
Mara Lee Gerdén

means that allows for immense pleasure and consumption while at the same time creating the illusion of equality. As a consequence, a question arises:  what happens to the negative affects that diversity projects might entail? The ‘bad feelings’, the discomfort, the calling into question, the call outs, the pain that it may cause? Are they simply swept under the carpet? Where and with whom do these negative affective residues end up? Despite the vagueness of the diversity goal in the film agreement, Baker Karim, a Swedish film director who was appointed a public film

in The power of vulnerability
Andrew Monaghan

arts, film and music industries into the team. While scandals emerged about some of these personalities being pressured into joining the team, 42 many cultural figures are genuine subscribers to Putin’s campaign: an obvious example being Govorukhin, the prominent and popular film director. Similarly, the Putin team sought to echo the opposition protest demonstrations, mounting their own, which

in The new politics of Russia
Birgit Lang

by non-academic authors.108 Specifically, Wulffen complained about Robert Heymann (1879–1946), film director and writer of popular fiction and popular cultural histories, whose volume Der Sexualverbrecher (The Sex Offender) was published in 1931 by Lykeion.109 Wulffen raised the issue of title copyright with his own publisher and a compromise was negotiated with Lykeion. New ∙ 141 ∙ A HISTORY OF THE CASE STUDY imprints of Heymann’s book showed a title change to Das Verbrechen. Eine Sittengeschichte menschlicher Entartung (Crime. A History of Human Aber­ ration

in A history of the case study
Economy, football and Istria
Alex J. Bellamy

of the national movement 1990 and that they had offered their ‘wholehearted support’ to Franjo Tuœman and the HDZ in Croatia’s first elections.84 This was particularly important at the time, Krickoviç argued, because Croatian national identity was confronting a massive propaganda assault that was launched by Milo°eviç’s Serbian regime. Referring to the Bad Blue Boys and the Torcida fans of Hajduk Split, Sasa Podgorelec (a Zagreb film director who produced a documentary on the Bad Blue Boys) argued that, ‘they were conscious enough of their own identity and brave

in The formation of Croatian national identity
Paul Henley

. This was released in 1927 and was jointly directed by the well-known writer, André Gide and his sometime lover, Marc Allégret, who would later go on to become a distinguished film director in his own right. While Allégret shot and edited the material, Gide formulated the elegant literary intertitles ( figure 1.6 ). Despite the celebrity of the directors, this film remains curiously neglected in the literature of visual anthropology. 1

in Beyond observation