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Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Star Trek and the transfiguration of naval history
Jonathan Rayner

replicated and bolstered by the enduring imperialist practices of initial, armed, acquisitive exploration succeeded by possessive patrol, colonial policing, protection of trade and gunboat diplomacy. In essence, Star Trek represents a forward projection of the roles of the warships of the Great Powers from the Renaissance to the present day. The apparent inevitability of employing warships as national representatives on such voyages of discovery follows the example of Charles Darwin’s journeys aboard HMS Beagle, and perhaps more specifically the historical precedent of the

in The naval war film
Abstract only
Philip Hammond

, confirming it as an instrument of diplomacy but not of action’ (Times, 19 March). Arguing that acting without explicit UN authority was the best way to uphold that authority may have been paradoxical, but it was no more contradictory than the claim that bombing Yugoslavia in 1999 was simultaneously illegal and legitimate (Chapter 5). The problem for coalition leaders in 2003 was convincing their critics

in Framing post-Cold War conflicts
Martha Graham, dance and politics
Dana Mills

, Africa and Latin America as part of its cultural diplomacy. Those tours were part of the struggle for American cultural and political influence in the (so-​called) Third World and aimed to project an image of America as cutting-​edge, open and accepting. Eisenhower led the programme, which started in 1954 (Prevots 2001:  8). He is quoted as saying: ‘I consider it essential that we take immediate and vigorous action to demonstrate the superiority of the products and cultural values of our system of free enterprise’ (Prevots 2001: 22). In the most extensive overarching

in Dance and politics
Abstract only
Philip Hammond

situation which existed before the emergence of war correspondence in the Crimean war, in that the Western military was again basically able to report its own war. However, control of the ‘information space’ has arguably assumed a new and greater importance in recent conflicts, as governments have used the media as a forum for conducting ‘public diplomacy’ (Brown 2003a , 2003b). This was given an extra

in Framing post-Cold War conflicts
Abstract only
Philip Hammond

impartial aims’ was now needed, while the Independent , also condemning the record of ‘international dithering’ on Rwanda, called on the UN to address ‘the need for preventive diplomacy and a rapid intervention force’ (both 6 July); and the Times said that ‘The UN has betrayed the country once: it must not do so again’ (20 July). Secondly, all three papers agreed on why the refugees had

in Framing post-Cold War conflicts
A lost epic of the reign of Victoria
Jude Cowan Montague

European diplomacy. The film was Sixty Years a Queen (1913), alternatively titled The Life and Times of Queen Victoria . Its two producers were William George Barker, an experienced filmmaker and the owner-manager of a flourishing studio at Ealing, and George Berthold Samuelson, a successful film agent and the driving force in bringing the royal story to the screen. Sixty Years a Queen has so far

in The British monarchy on screen
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The cultural politics of popular film
Chris Beasley and Heather Brook

coined the term ‘soft power’ to describe modes of advancing national security, including foreign aid and diplomacy, by means that are indirect, and that encourage other countries and their peoples to admire, emulate, support, and acquiesce to such advancement (Nye, 2004). Soft power is the power to win ‘hearts and minds’ as well as wars (Ikenberry, 2004). The critical resources of soft 4 The cultural politics of Hollywood film power lie beyond the direct control of national governments and may have their impact precisely because they seem to occur at a distance

in The cultural politics of contemporary Hollywood film
Open Access (free)
Robert Hamer after Ealing
Philip Kemp

the final version by Gore Vidal. Her comments incensed Hamer, who described them as ‘a compound of stupidity, egomania and gross bad manners’, and demanded to be taken off the picture. 14 It took all Balcon’s diplomacy to smooth everyone’s ruffled feathers. On the face of it, The Scapegoat looks like an ideal Hamer subject. Once again a disaffected loner tangles with his alter ego – literally his

in British cinema of the 1950s
Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987)
Sally Dux

1994 a multiracial election was won by the ANC and de Klerk then withdrew from the presidency, accepting the position as second deputy to President Mandela. Both de Klerk and Mandela were recognised for their achievements by being jointly awarded the Nobel Peace Prize in 1993, six years after the release of Cry Freedom. To what extent Cry Freedom was able to aid this process cannot be accurately determined. However, the film projected the conditions of apartheid to an unsuspecting world, aided by Attenborough’s skill and diplomacy in dealing with the political

in Richard Attenborough