Christoph Knill and Duncan Liefferink

3 Central institutions and actors The previous overview of the historical development, policy orientations and governance patterns of EU environmental policy can only be understood and explained when we take a closer look at how this policy is actually made. What are the general institutional and procedural conditions for the design of European environmental policies? Who are the important actors? What are their respective responsibilities? What general interest constellations and patterns of interaction can be observed? Our starting point for answering these

in Environmental politics in the European Union
The executive drama
Ben Tonra

6 Policy actors and structures: the executive drama Introduction The objective of this chapter is to outline the central political and bureaucratic framework from which Irish foreign policy is constructed and to analyse the significance of its evolution. Traditionally, Irish foreign policy has been seen as a creature of government and thus of the ministers and the departmental officials directly concerned with the pursuit of foreign policy objectives.This chapter will argue that in so far as the executive remains at the centre of the foreign policy process in

in Global citizen and European Republic
Into the driving seat
Stephen Lacey

02-chap 01 26/2/07 10:12 am Page 11 From actor to producer: into the driving seat 1 On 15 June 1966, Sidney Newman, the Head of the Drama Group at the BBC, wrote a memo to Kenneth Adam, the Commissioner of Programmes, entitled ‘The Wednesday Play’. The memo, which Newman thought ‘short on fact and long on thought’ (Newman 1966b: 2), was an articulate defence of the anthology series (1964–70), with which he (and later Tony Garnett) had become closely identified. The memo is mainly about the need to attract – and keep – good writers committed to working in

in Tony Garnett
The democratic coda
Ben Tonra

7 Policy actors and structures: the democratic coda Introduction The aim of this chapter is to review the structures, both formal and informal, through which democratic control is exercised over the formulation and conduct of Irish foreign policy. It is evident from the previous chapter that in the 1980s and 1990s the winds of a gentle revolution were sweeping through the corridors of Iveagh House. Some of the resulting change in executive structures, roles and procedures could be seen to be a result of Ireland’s twenty-five-year engagement in Europe and an

in Global citizen and European Republic
Jon Birger Skjærseth and Tora Skodvin

2543Chap4 16/7/03 9:58 am Page 74 4 The Corporate Actor model The previous chapter demonstrated the striking differences in the climate strategies of ExxonMobil, the Shell Group and Statoil. While ExxonMobil has adopted a reactive strategy, Shell has chosen a proactive response, and Statoil has adopted a strategy representing a hybrid between these two positions. In this chapter we explore the explanatory power of the approach we have labelled the Corporate Actor (CA) model. To recapitulate our discussion from chapter 2, the CA model suggests that

in Climate change and the oil industry
Abstract only
Mary Venner

Official reports on the UN Mission in Kosovo generally refer to UNMIK as the only significant actor in the territory during its post-conflict reconstruction. In the field of public administration development, however, several large and influential international organisations and bilateral donors in addition to the UN played leading roles. Although the majority of these actors

in Donors, technical assistance and public administration in Kosovo
Richard Gaunt

11 Sir Robert Peel as actor-dramatist Richard Gaunt O n 2 May 1997, on leaving Downing Street as Prime Minister for the last time, John Major observed that ‘when the curtain falls, it is time to get off the stage’. There could hardly have been a more appropriate metaphor for the theatre of modern British politics. Standing on Downing Street outside the famous black door of No. 10 – both of which have become props in a political stage-set which forms the back-drop for national political life – Major addressed an audience composed nominally of television cameras

in Politics, performance and popular culture
Individuals, institutions, ideologies
Alan Tomlinson

Diplomatic actors in the world of football 47 3 Diplomatic actors in the world of football: individuals, institutions, ideologies* Alan Tomlinson This chapter raises questions concerning the meanings, myths and messages that characterise selected aspects of the varied spheres of what can generally be labelled the sport diplomatic; those social settings and dynamics in which sport has contributed to aspects of international relations and diplomatic practice. The three spheres are the individual, the institutional and the ideological: selected individuals

in Sport and diplomacy
Alison Smith

Throughout the preceding analyses of Agnès Varda's films, the oscillation between objectivity and subjectivity has been a major and recurring theme. Not only does Varda link the 'document brut' (raw documentary footage) to 'ses réponses affectives ou rationnelles' (emotional and rational responses), but also to a 'histoire articulée' (constructed story), a presentable form which will allow the audience to see it differently. This chapter is concerned with the way in which the film treats the question of spectacle and performance, and its relation to direct experience. Varda's fiction films are remarkable for their absence of star actors. Although a constant preoccupation with budgets has to be taken into account, there is enough evidence to suggest that the absence is not a result of stars simply not being available. In other words Varda's interest in major actors is stirred most by their existence as human beings rather than their professional talents.

in Agnès Varda
Abstract only
Jason Statham and the ensemble fi lm
Sarah Thomas

of his leading roles are sustained by appealing repartee with compelling secondary players, including the Crank (2006–2009) and Transporter series (2002–2008); and even his comic turn in Spy (2015) relies on interplay and contrast with other actors in addition to its own parodic excess. Interactions are as vital a part of the Statham aesthetic as choreographed combat

in Crank it up