The European Human Rights Culture – A Paradox of Human Rights Protection in Europe? analyses the political term “European Human Rights Culture”, a term first introduced by EU Commission President Barroso. Located in the fields of comparative law and European law, this book analyses, through first-hand interviews with the European judiciary, the judicial perspective on the European human rights culture and sets this in context to the political dimension of the term. In addition, it looks at the structures and procedures of the Court of Justice of the European Union (CJEU) and the European Court of Human Rights (ECtHR), and explains the embedding of the Courts’ legal cultures. It offers an in-depth analysis of the margin of appreciation doctrine at both the CJEU and ECtHR, and shows its value for addressing human rights grievances. This book is novel in that it combines interviews and case-law analysis to show how a mix of differences on the bench are legally amalgamated to resolve probing legal questions and human rights issues. It shows, through a combined analysis of case-law and recent political developments for European human rights, the tensions between judicial and political approaches and the paradox of human rights protection in Europe. It also offers in-depth knowledge of the European human rights discourse. In addition to a rich study of legal materials, the book looks inside the box by adding the judiciary’s perspective. Human rights are widely acknowledged in European societies and cases claiming human rights violations are increasing at both the CJEU and ECtHR. In these times of increased human rights awareness, this book uncovers a paradox in European human rights protection which is created by the push-and-pull between judicial and political interests.
Although relatively small, the northern countries of Scandinavia have made a disproportionately large contribution to world cinema. Indeed, some of their films are among the best known of all times, including The Seventh Seal, Dancer in the Dark, and The Girl with the Dragon Tattoo. And Scandinavian directors are also among the best known, just to mention Ingmar Bergman and Lars von Trier. But there is much more to the cinema of Denmark, Norway, Sweden, Finland and Iceland than that, and this book shows us what they have been accomplishing over more than a century from the beginnings of cinema until the present. The Historical Dictionary of Scandinavian Cinema shows just how long and busy this history has been in the chronology, starting in 1896. The introduction then describes the situation in each one of the component countries, all of which approached and developed the field in a similar but also slightly different manner. The dictionary section, with over 400 substantial entries, looks at the situation in greater detail, with over 400 substantial entries on major actors, directors and others, significant films, various genres and themes, and subjects such as animation, ethnicity, migration and censorship. Given its contribution to world cinema it is good to finally have an encyclopedia like this which can meet the interests of the scholar and researcher but also the movie fan.
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