Open Access (free)
Thomas Dumm

case of specifying the meaning of moral perfectionism – of his own coinage. And “the melodrama of the unknown woman” – again, his coinage – is a cousin, at least, to your description of the tragedy of remarriage.) There is another thing going on here in your letter to Cavell that requires at least brief attention. You seem to see Rousseau’s letter to be friendship-ending, a public

in Cinema, democracy and perfectionism
Place, space and discourse
Editors: Christine Agius and Dean Keep

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

Ashley Lavelle

characterised by melodrama with the writer and close friend Martin Amis (Hitchens, 2008a). 167-230 PoliticsBetrayal Part 4.indd 170 05/02/2013 14:08 Introduction to part IV 171 It is even sometimes thought that renegades must be psychologically damaged or personally flawed in order to be capable of such somersaults in their political thinking (Loughlin, 2003: 516–17). Renegades are therefore prone to changing their minds regularly, sometimes with much fanfare: referring to Christopher Hitchens, Finkelstein observes that the apostate enjoys ‘the shock value of an

in The politics of betrayal
Abstract only
Understanding the past, facing the future
Ina Habermann

the Continent, in this case the particularly riddled one with Germany, The Aftermath is not even a ‘brief encounter’, to recall the title of the famous Second World War film melodrama; it is more like two ships passing in the night. In the case of the Brook family, in contrast, contact was made through the children who were thrown together by destiny, doing what comes naturally to children – talking, playing, making a new beginning. 6 But in order for this healing power to emerge, there must be contact and dialogue, there must be curiosity, respect, openness and

in The road to Brexit
Narrative identity and Homeland
Louise Pears

Publishing Co. Meeuf, R. 2006. “Collateral Damage Terrorism, Melodrama and the Action Film on the Eve of 9/11.” Jump Cut 48 (4). CollatDamage/text.html. Morey, P. 2010. “Terrorvision.” Interventions 12 (2): 251–64. Morley, D. 1989. “Changing Perspectives in Audience Studies.” In Remote Control: Television, Audiences and Cultural Power, edited by E. Seiter, H. Borchers, G. Kreutzner and E. M. Wath, 16–43. London: Routledge. Mulvey, L. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16 (3): 6–18. Neumann, I. B. 1999. Uses of

in The politics of identity
Film, television drama and the Northern Irish conflict in Britain
John Hill

the big-budget feature film In the Name of the Father (1993), dealing with the Guildford Four and Maguire Seven, that was responsible for the greatest controversy, due to its scale of production, emotional power and high public profile. The Ireland–UK–US co-production, In the Name of the Father, however, was actually funded by a major US studio, Universal, and demonstrated a clear debt to the conventions of the family melodrama, the bio-pic and the prison film, rather than those of drama-documentary. Starring Daniel Day-Lewis, it was loosely based on Gerry Conlon

in The Northern Ireland Troubles in Britain
From troubled pan-African media to sprawling Nollywood
Julia Gallagher and V. Y. Mudimbe

): Margins of Philosophy , trans. Alan Bass (Chicago: Chicago University Press). Ebron, P. (2002): Performing Africa (Princeton, NJ: Princeton University Press). Garritano, C. (2000): ‘Women, melodrama, and feminist critique: a feminist reading of hostages, dust-to-dust, and true confessions’, in J. Haynes (ed.), Nigerian Video Films (Athens, OH: Ohio University Centre for International Studies). Gouveia. P. (2005): An African Al Jazeera?: mass media and the African renaissance (London: Foreign Policy

in Images of Africa
Abstract only
Thomas Hennessey

November, told the President: ‘Events in the past twenty-four hours have moved swiftly here and with all the elements of an old-fashioned melodrama.’ Vyshinski’s speech in the Political Committee, ‘set everyone in the Committee on their ears’. He not only rejected Menon’s resolution, but all other resolutions except his own.48 In the evening of 26 November, Gross talked at some length with Menon, who was discouraged because the Americans were insisting on changes in paragraph 17, in the face of Soviet attacks on his resolution. Menon had also received word from the

in Britain’s Korean War
Letter to M. Cavell about cinema (a remake)
Joshua Foa Dienstag

leaves us dry-eyed while filmed melodrama executed with a modicum of skill makes a puddle, for the latter can mimic the qualities of being that daylight renders invisible. This process need not, in a general way, be exclusive to cinema. My language here is meant to point to our countryman Proust. What, after all, was his famous book intended to accomplish? In recovering lost time

in Cinema, democracy and perfectionism