Revolution and Rebellion in Mexican Film examines Mexican films of political conflict from the early studio Revolutionary films of the 1930-50s up to the campaigning Zapatista films of the 2000s. Mapping this evolution out for the first time, the author takes three key events under consideration: the Mexican Revolution (1910-1920); the student movement and massacre in 1968; and, finally, the more recent Zapatista Rebellion (1994-present). Analyzing films such as Vamanos con Pancho Villa (1936), El Grito (1968), and Corazon del Tiempo (2008), the author uses the term 'political conflict' to refer to those violent disturbances, dramatic periods of confrontation, injury and death, which characterize particular historical events involving state and non-state actors that may have a finite duration, but have a long-lasting legacy on the nation. These conflicts have been an important component of Mexican film since its inception and include studio productions, documentaries, and independent films.
Tastemakers and Tastemaking develops a new approach to analyzing violence in Mexican films and television by examining the curation of violence in relation to three key moments: the decade-long centennial commemoration of the Mexican Revolution launched in 2010; the assaults and murders of women in Northern Mexico since the late 1990s; and the havoc wreaked by the illegal drug trade since the early 2000s. Niamh Thornton considers how violence is created, mediated, selected, or categorized by tastemakers, through the strategic choices made by institutions, filmmakers, actors, and critics. Challenging assumptions about whose and what kind of work merit attention and traversing normative boundaries between "good" and "bad" taste, Thornton draws attention to the role of tastemaking in both "high" and "low" media, including film cycles and festivals, adaptations of Mariano Azuela's 1915 novel, Los de Abajo, Amat Escalante's hyperrealist art films, and female stars of recent genre films and the telenovela, La reina del sur. Making extensive use of videographic criticism, Thornton pays particularly close attention to the gendered dimensions of violence, both on and off screen.
Experiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be ‘read’ and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial ‘types’. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.
Kilmainham Jail is perhaps the most important building in modern Irish history. A place of incarceration since its construction in the late eighteenth century, it housed a succession of petty criminals, including sheep rustlers and, during the Famine, people who committed crimes with the sole aim of being imprisoned there: even the meager rations offered at the jail were better than what was available in other parts of the country. It was a powerful symbol of British rule on the island of Ireland; its residents over the years included the bold Robert Emmet and, of course, it was also the place where the 1916 rebels were taken and executed. Every Dark Hour is a colourful and entertaining telling of the history of the jail and its colourful cast of residents over the years - as well as vivid accounts of the heroic men and women who gave freely of their time and energies to restore the jail to its former grandeur when it was on the verge of being reclaimed by the elements.
On 4 August 1914 following the outbreak of European hostilities, large sections of Irish Protestants and Catholics rallied to support the British and Allied war efforts. Yet less than two years later, the Easter Rising of 1916 allegedly put a stop to the Catholic commitment in exchange for a re-emphasis on the national question. In Ireland and the Great War Niamh Gallagher draws upon a formidable array of original research to offer a radical new reading of Irish involvement in the world's first total war. Exploring the 'home front' and Irish diasporic communities in Canada, Australia, and Britain, Gallagher reveals that substantial support for the Allied war effort continued largely unabated not only until November 1918, but afterwards as well. Rich in social texture and with fascinating new case studies of Irish participation in the conflict, this book has the makings of a major rethinking of Ireland's twentieth century.
The EU and the US responded to the global financial crisis by changing the rules for the functioning of financial services and markets and by establishing new oversight bodies. With the US Dodd–Frank Act and numerous EU regulations and directives now in place, this book provides a timely and thoughtful explanation of the key elements of the new regimes in both regions, of the political processes which shaped their content and of their practical impact. Insights from areas such as economics, political science and financial history elucidate the significance of the reforms. Australia's resilience during the financial crisis, which contrasted sharply with the severe problems that were experienced in the EU and the US, is also examined. The comparison between the performances of these major economies in a period of such extreme stress tells us much about the complex regulatory and economic ecosystems of which financial markets are a part.
Over the decade or so since the global financial crisis rocked EU financial markets and led to wide-ranging reforms, EU securities and financial markets regulation has continued to evolve. The legislative framework has been refined and administrative rulemaking has expanded. Alongside, the Capital Markets Union agenda has developed, the UK has left the EU, and ESMA has emerged as a decisive influence on EU financial markets governance. All these developments, as well as the Covid-19 pandemic, have shaped the regulatory landscape and how supervision is organized. EU Securities and Financial Markets Regulation provides a comprehensive, critical, and contextual account of the intricate rulebook that governs EU financial markets and its supporting institutional arrangements. It is framed by an assessment of how the regime has evolved over the decade or so since the global financial crisis and considers, among other matters, the post-crisis reforms to key legislative measures, the massive expansion of administrative rulemaking and of soft law, the Capital Markets Union agenda, the development of supervisory convergence as the means for organizing pan-EU supervision, and ESMA's role in EU financial markets governance. Its coverage extends from capital-raising and the Prospectus Regulation to financial market intermediation and the MiFID II/MiFIR and IFD/IFR regimes, to the new regulatory regimes adopted since the global financial crisis (including for benchmarks and their administrators), to retail market regulation and the PRIIPs Regulation, and on to the EU's third country regime and the implications of the UK's departure from the EU. This is the fourth edition of the highly successful and authoritative monograph first published as EC Securities Regulation. Heavily revised from the third edition to reflect developments since the global financial crisis, it adopts the in-depth contextual and analytical approach of earlier editions and so considers the market, political, institutional, and international context of the regulatory and supervisory regime.
Intellectual Property Law in Ireland, 4th edition is a detailed guide to patents, copyright and trade mark law. It covers all relevant European legislation and traces its weaving into Irish law. It details European case law together with relevant case law from commonwealth countries, as well as detailing any Irish cases on the three areas and also covers design law. It outlines the workings of the patents, copyright and trade mark offices in Ireland. It is laid out in a practical and user-friendly way, with each section separate, but cross-referenced where necessary. Since the previous edition, only six years ago, there have been a number of fundamental changes to a number of aspects of intellectual property law, which make this new edition essential. The areas that have been expanded and updated in this edition include: - The voluminous European case law on IP issues arising since 2010 - The impact of the new EU TRade Mark Regulation No 2015/2424 - Supreme Court decisions on the law of passing off (McCambridge Ltd v Joseph Brennan Bakeries) and unregistered design rights (Karen Millen Fashions v Dunnes Stores) Along with these, the book looks to future and the developments on the horizon. It tracks the ongoing domestic copyright law and Digital Single Market, as well as discussing the potential benefits of the the Trade Secrets Directive (EU) 2016/943
This is a critical biography of Aloysius O'Kelly's career as a painter, illustrator and committed Fenian which uncovers a world hardly known hitherto except in the most caricatured versions.
Considers how and why taste persists in the analysis of Mexican film and television by looking at key figures and their impact on the curation of violence.
Revolution and Rebellion in Mexican Film examines Mexican films of political conflict from the early studio Revolutionary films of the 1930-50s up to the campaigning Zapatista films of the 2000s. Mapping this evolution out for the first time, the author takes three key events under consideration: the Mexican Revolution (1910-1920); the student movement and massacre in 1968; and, finally, the more recent Zapatista Rebellion (1994-present). Analyzing films such as Vamanos con Pancho Villa (1936), El Grito (1968), and Corazon del Tiempo (2008), the author uses the term 'political conflict' to refer to those violent disturbances, dramatic periods of confrontation, injury and death, which characterize particular historical events involving state and non-state actors that may have a finite duration, but have a long-lasting legacy on the nation. These conflicts have been an important component of Mexican film since its inception and include studio productions, documentaries, and independent films.
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