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Dmytryk, Rossellini and Christ in Concrete
Erica Sheen

Focusing our understanding of Hollywood and HUAC on questions of presence and content is to apply paradigms of authorship and genre which were critical by-products of the cultural transformation to which HUAC contributed, and will as a result have limited critical purchase on its causes. What might break this critical impasse would be the discovery of something outside the circle; something not easily, or at least not yet, assimilated into its cycle of repetitions. Such a remainder can be found in a film which is arguably one of the most important productions of the period: Edward Dmytryk‘s ‘lost’ film of Italian/American author Pietro di Donatos novel Christ in Concrete (1949).

Film Studies
A Framework for Measuring Effectiveness in Humanitarian Response
Vincenzo Bollettino
Birthe Anders

effectiveness of coordination in both complex emergencies and natural disasters. The remainder of the paper is structured in the following way. The first section will look at existing literature on the subject and clearly identify the gap this paper is attempting to fill. The second section will introduce the indicator framework (IF) with nineteen descriptive level and twenty perception and effectiveness indicators and explain how and by whom these can be used. A brief conclusion is then drawn, before ‘The Humanitarian Civil–Military Coordination Indicator Framework’ is

Journal of Humanitarian Affairs
A Military Tactic or Collateral Damage?
Abdulkarim Ekzayez
Ammar Sabouni

per cent of north-east Syria, with a population of approximately 4 million. The remainder of opposition armed groups, supported by Turkey, control around 15 per cent in the north-west with a population of approximately 3.5 million ( Humanitarian Needs Overview, 2019 ). Health services in each territory have been provided using different adaptation mechanisms to the conflict. In the opposition-controlled areas, with the collapse of the health system and the withdrawal by the Damascus Ministry of Health, local medical networks – relying on limited local resources, the

Journal of Humanitarian Affairs
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Art and destruction

Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.

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Contingent remainders
Daniel R. Smith

wins. I wonder if there are ways to redescribe what the house is, and what its inaccessible pleasures could mean or be to us. Could we not be haunted by it and so have less suffocating feelings about ourselves? Perhaps the following could suffice. We learned that the origin of a house-society in England resulted from a crisis of heirship ( Chapter 2 ): with a dearth of male births to inherit their father's estate, the gentleman's daughter became a prized commodity to find what, in common law parlance, are ‘contingent remainders’. Contingent

in The fall and rise of the English upper class
Jared Pappas-Kelley

grouping art together merely because it has been destroyed—but it reveals a resonance. In this sense, the book is neither an art historical document nor even a proposal for bringing together remnants of memory and remainders into some sort of exhibition. Instead, its aim is to investigate what it means when art is destroyed. Others have similarly considered destruction or undoing as a kind of trick within the inception of a work of art. In an essay on The Brothers Karamazov, Jean Genet proposed that every act “means one thing and its opposite.” The act for Genet implies

in Solvent form
Legislation, agencies and the implementation gap
David Brown

Commission’s hastily laid down timetable. It was not the only feature of the post-11 September field of legislation and agency activity, nor was it the only aspect to be legislated in haste and repented at greater leisure. As will be seen in the remainder of the chapter, after years of relative inactivity, a sense of pervading panic pushed counter terrorism to the top of the legislative agenda. However, the question remains whether increased activity constitutes genuine added value, in terms of enhancing the EU’s overall credibility within internal security more widely

in The European Union, counter terrorism and police co-operation, 1992–2007
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Jared Pappas-Kelley

open and leave it shipwrecked amid all this form. Yet of these actions of ­accumulation and their capacity to undo, Baudrillard retorts: It’s accumulation, the series, that helps develop the fantasy of infinity, but what you do not see is the threshold of critical mass. At some point, too much is too Things lie  119 much. The process is the equivalent of the abolition of all these qualities. It’s a black hole.11 Three. When the nameless character in Remainder first begins looking for the precise building from which to reconstruct what he perceived in the crack on

in Solvent form
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‘Remember the Good Old Cause’
Edward Legon

seditious remembering becomes visible) and the retrospective censure of their actions during the 1640s and 1650s.46 Censorship and censure are regarded as having been driven by a specifically Royalist impulse to eradicate a ‘fanatic’ ideology, and with it certain political and religious identities, through the public and social delegitimisation of Parliamentarianism and republicanism. The remainder of chapter 3 shows that censorship and censure comprised a major component of what Christopher Hill and others have referred to as the ‘experience of defeat’ for those who

in Revolution remembered
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Jan Broadway

Conclusion Genealogy, heraldry and the descent of manors remained staples of local history long after they had lost their centrality to the self-identity of local historians and their readers. The Elizabethan and early Stuart gentry saw themselves as socially differentiated, but not divorced, from the remainder of the population. They produced works that reflected their own perspective on the world. It was a wider perspective than their medieval ancestors had enjoyed, incorporating a new world across the Atlantic, but still recognisable. An invisible thread joined the

in ‘No historie so meete’