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This book introduces the reader to emerging research in the broad field of 'imperial migration' and shows how this 'new' migration scholarship had developed our understanding of the British World. This is done through an analysis of some of former colonies of British Empire such as Australia, Canada, India and Zambia. The book focuses on the ideas of Reverend Thomas Malthus of how population movements presaged forces within sectors of a pre-industrial economy. The formation of national and imperial identities along racial lines in the mid-nineteenth century is covered by an analysis of the mid-nineteenth century British censuses. The clergy played a pivotal role in the importation and diffusion of a sense of British identity (and morality) to Australian churchgoers. The resistance and accommodation of Welsh Presbyterianism in Eastern Bengal is investigated through the varieties of engagement with Indian Christians and non-Christians. The book argues that Asian migration and the perceived threat it posed to the settler colonies was an issue which could unite these seemingly incongruent elements of the British World. Child migration has become a very sensitive and politically charged issue, and the book examines one of the lesser studied child migration agencies, the Middlemore Children's Emigration Homes. The book also deals with the cultural cross-currents in the construction of an Anglo-Canadian or 'Britannic' national identity. The white settlers' decisions to stay on after independence was granted to Zambia are instructive as it fills an important gap in our understanding of Africa's colonial legacy.

National identity in The Transporter trilogy

. Masculinity remains a form of global identity, but it does have different cultural connotations within every country. However, traditional notions of ‘Hollywood masculinity’ are recognised to have three elements, all of which are crucial to the international success of the Transporter trilogy. First, it will assess how Statham utilises his body throughout the movies. His action and

in Crank it up
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali

transformed the passive, interpellated subject of cinema through an interactive digital model of theatricality. The cyber-territory of RMB City leads to the most important question: what is the interpellated subject in the digital era of globalization? Identities are always tied to a place, and as Anderson proposed for the analogue representations of twentieth-century nationalism, ‘in the modern world everyone can, should, will “have” a nationality, as he or she “has” a gender.’87 In the twenty-first-century example of RMB City, China Tracy could be completely devoid of any

in Staging art and Chineseness
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‘The fork in the road’

be regarded as templates against which Pynchon’s other work is to be measured. Luc Herman’s observation that Oedipa Maas is an ‘archaeologist of American society’ applies equally as well to her creator, whose continued digging into America’s domestic and global identities provides us with a series of ongoing interventions into the national psyche at moments of historical pressure.19 The Second World War in Gravity’s Rainbow; both world wars and a series of other European and colonial crises from the first half of the twentieth century in V.; the liberations and

in Thomas Pynchon
Celtic Tiger cinema

bigger-­ budget, US–Irish co-­ productions such as The Matchmaker (Mark Joffe 1997), P.S. I Love You (Richard LaGravenese 2007) and Leap Year (Anand Tucker) tapping into the international popularity of Irish chick lit. The decision of so many of these filmmakers to cast Hollywood stars in their leads (Janeane Garofaolo in The Matchmaker; Kate Hudson in About Adam; Hilary Swank and Gerard Butler in P.S. I Love You; Amy Adams and Matthew Goode in Leap Year) further highlights their global identity. Several of the films – The Matchmaker, P.S. I Love You and Leap Year

in From prosperity to austerity
Late twentieth-century British emigration and global identities – the end of the ‘British World’?

Airport, within about 40 seconds you’re on a motorway, and I know in about an hour I’ll be walking into a house that I’ve owned for 25 years in Spain, which has got a garden and a pool and, and the next morning I’m in the village and people say: “Where have you been, I haven’t seen you for a while.”’ We might expect this experience to translate into a throughgoing global identity. Yet Nick promptly

in Empire, migration and identity in the British world
Robert Lepage’s Coriolan

literary authority. 4 The plays in the French-language Cycle were based on ‘tradaptations’ by the Québec poet Michel Garneau, who ostensibly rendered each of the three dramas in a different register of Québécois. 5 Although Garneau began tradapting Shakespeare in the 1970s to help establish a distinct national Québécois culture, Lepage’s Cycle had a markedly global

in Coriolanus
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Worklife pathways in a boom-to-bust economy

other research on the attitudes of young, mobile Europeans (Kennedy, 2010): I feel European, basically a citizen of the world. It’s not that I don’t have my national identity … but I’m not that much attached (to it) as the generation of my grandparents. And maybe it’s that I am not only European but a citizen of the world … in here I have contact with the wider world, not only Europe … and we’re all in here together. (Anita, office clerk, W6) Thus, movement away from a purely Polish national identity could well be towards some form of cosmopolitan or global identity

in New mobilities in Europe
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Jonathan Rayner

origination either. The commercial exercise (purveying and profiting from popular films) fuses with the ‘social practice’ of consumption, adoption or interrogation of their denotative and connotative elements, and animates the cultural practice of reflection, interpretation and absorption in which filmmakers and audiences engage. After thirty years the Australian cinema has largely accomplished its commercial and artistic filmmaking objectives, and created a recognisable local and global identity as well as markets and consumers

in Contemporary Australian cinema
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local and global identities, and tradition and modernity, that is symptomatic of a South Korean ideology that seeks global approval through an expression of ‘local color’. It is only evident through repeated viewings that Su-mi is in fact a composite of the three main characters of the folktale and that the resolution of the folktale in which good triumphs over evil is subverted. As Dupuy argues, the

in Globalgothic