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
Germany in American post-war International Relations
International Studies , 42 : 2 ( 2014 ), pp. 354 – 75 . On the rhetoric of realism, see D. J. Levine , ‘ After tragedy: melodrama and the rhetoric of realism ’, Journal of International Political Theory (advance publication; doi: 10.1177/1755088218790987).
71 Greenberg, The Weimar Century , pp. 7, 158; Radkau, Die deutsche Emigration in den USA , p. 214; Hughes, The Sea Change , p. 31. Gerald Stourzh and Carl Mayer called it an ‘osmosis’; Stourzh, ‘Die deutschsprachige Emigration in den Vereinigten Staaten’, p. 61; Radio Bremen, Auszug des Geistes , p. 198.
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
factual and fictional works into a romantic narrative which has greatly influenced our current image of the pirate. Very similar romantic settings, characterizations and emplotments can be found in historical texts from the eighteen century
to movies of the twenty-first century. As David Cordingly points out: ‘The picture
which most of us have turns out to be a blend of historical facts overlaid with three
centuries of ballads, melodramas, epic poems, romantic novels, adventure stories,
comic strips, and films’ (Cordingly 2006: xiv). Yet these narrative elements are