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The Compliment of Getting Stuck with a Fork
J. J. Murphy

Dismissed by most critics, including even those sympathetic to alternative cinema, Harmony Korine‘s Gummo (1997) presents a tabloid look at the dark underside of adolescence. It aims to provoke its audience by pushing the boundaries of acceptable good taste. In Gummo, Korine employs a more experimental collage technique in which scenes are linked, not by the cause and effect of conventional plot, but by the elusive logic of free association. This essay contextualizes Korines work within skateboard culture and the recent Modern Gothic trend toward creepy, angst ridden, and death-obsessed work by younger contemporary American artists. It argues that Gummo‘s real achievement rests on its unusual narrative syntax – the way Korine is able to weave together the films disparate scenes and events to create a viscerally assaulting, Modern Gothic portrait of the notion of “difference” in its various manifestations.

Film Studies
Jonathan Frome

This article addresses two questions about artworks. First, why do we emotionally respond to characters and stories that we believe are fictional? Second, why are some media better than others at generating specific types of emotions? I answer these questions using psychological research that suggests our minds are not unified, but are comprised of numerous subsystems that respond differently to various aspects of artworks. I then propose a framework to help us understand how films, videogames, and literature interact with our minds in different ways, which explains why they tend to excel at generating different types of emotions.

Film Studies
Michael Newman

One key aspect of characterization is the construction of character psychology, the attribution to fictional representations of beliefs and desires, personality traits, and moods and emotions. Characters are products of social cognition, the human propensity for making sense of others. However, they are also products of artists who fashion them to appeal to our nature as social beings. Through an analysis of Todd Solondz‘s Welcome to the Dollhouse (1995), this paper describes three processes of social cognition which are crucial for audiovisual characterization: folk psychology, causal attribution, and emotion expressions.

Film Studies
Abstract only
Daniel Barratt
Jonathan Frome

Film Studies
Bert Ingelaere

, S. and Vandeginste , S. (eds), L’Afrique des Grands Lacs, Annuaire 2010–2011 ( Paris : L’Harmattan ), pp. 303 – 18 . Ingelaere , B. ( 2011b ), ‘The ruler’s drum and the people’s shout: Accountability and representation on Rwanda’s hills’ , in Straus , S. and Waldorf , L. (eds), Remaking Rwanda: State Building and Human Rights after Mass Violence ( Madison : University of Wisconsin Press ), pp. 67 – 78 . Ingelaere , B. ( 2012 ), ‘From Model to Practice: Researching and Representing Rwanda’s “Modernized” Gacaca Courts’ , Critique of

Journal of Humanitarian Affairs
Timothy Longman

), Humanitarian Aid, Genocide and Mass Killings: Médecins Sans Frontières, the Rwandan Experience, 1982–97 ( Manchester : Manchester University Press ). Browning , C. R. ( 2004 ), The Origins of the Final Solution: The Evolution of Nazi Jewish Policy, September 1939–March 1942 ( Lincoln : University of Nebraska Press ). Burnet , J. E. ( 2013 ), Genocide Lives in Us: Women, Memory, and Silence in Rwanda ( Madison : University of Wisconsin Press ). Chrétien , J-P. (ed.) ( 1995 ), Rwanda: Les médias du génocide ( Paris : Karthala ). Dallaire , R. ( 2003

Journal of Humanitarian Affairs
The Politics of ‘Proximity’ and Performing Humanitarianism in Eastern DRC
Myfanwy James

Making of Colonial Africa ( Madison : University of Wisconsin Press ). Lewis , D. and Mosse , D. (eds) ( 2006 ), Development Brokers and Translators: The Ethnography of Aid and Agencies ( Sterling, VA : Kumarian Press ). Long , N. and Long , A. (eds) ( 1992 ), Battlefields of Knowledge: The Interlocking of Theory and Practice in Social Research and Development ( London : Routledge ). Magone , C. , Neuman , M. and Weissman , F. (eds) ( 2011 ), Humanitarian Negotiations Revealed: The MSF Experience ( London : Hurst & Co. ). Mathys , G

Journal of Humanitarian Affairs
Marie-Luce Desgrandchamps
Lasse Heerten
Arua Oko Omaka
Kevin O'Sullivan
, and
Bertrand Taithe

’ , Diplomatic History , 38 : 2 , 282 – 93 . Omaka , A. O. ( 2016 ), The Biafran Humanitarian Crisis, 1967–1970: International Human Rights and Joint Church Aid ( Madison, MD : Fairleigh Dickinson University Press ). Omaka , A. O. ( 2019 ), ‘Through the Imperial Lens: The

Journal of Humanitarian Affairs
The impossibility of reason

This book presents an overview of Jean–Jacques Rousseau's work from a political science perspective. Was Rousseau — the great theorist of the French Revolution—really a conservative? The text argues that the author of ‘The Social Contract’ was a constitutionalist much closer to Madison, Montesquieu, and Locke than to revolutionaries. Outlining his profound opposition to Godless materialism and revolutionary change, this book finds parallels between Rousseau and Burke, as well as showing that Rousseau developed the first modern theory of nationalism. It presents an integrated political analysis of Rousseau's educational, ethical, religious and political writings.

Rousseau as a constitutionalist
Mads Qvortrup

. Among the latter we may cite Aristotle, Cicero, Locke, Montesquieu, Madison, Hayek and possibly even Machiavelli (McCormick 2001: 297). Like all dichotomies this one stretches reality, and may become inaccurate and even absurd when applied too rigorously. However, as a heuristic device it may serve a purpose, namely by identifying the common denominators which we might otherwise overlook. Moreover, this distinction can even be found in the empirical literature (Ertmann 1997), as well as theorists have used the distinction for hundreds of years. Thus in 1476 the

in The political philosophy of Jean-Jacques Rousseau