Feminist filmmakers are hitting the headlines. The last decade has witnessed: the first Best Director Academy Award won by a woman; female filmmakers reviving, or starting, careers via analogue and digital television; women filmmakers emerging from Saudi Arabia, Palestine, Pakistan, South Korea, Paraguay, Peru, Burkina Faso, Kenya and The Cree Nation; a bold emergent trans cinema; feminist porn screened at public festivals; Sweden's A-Markt for films that pass the Bechdel Test; and Pussy Riot's online videos sending shockwaves around the world. A new generation of feminist filmmakers, curators and critics is not only influencing contemporary debates on gender and sexuality, but starting to change cinema itself, calling for a film world that is intersectional, sustainable, family-friendly and far-reaching. Political Animals argues that, forty years since Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' identified the urgent need for a feminist counter-cinema, this promise seems to be on the point of fulfilment. Forty years of a transnational, trans-generational cinema has given rise to conversations between the work of now well-established filmmakers such as Abigail Child, Sally Potter and Agnes Varda, twenty-first century auteurs including Kelly Reichardt and Lucretia Martel, and emerging directors such as Sandrine Bonnaire, Shonali Bose, Zeina Daccache, and Hana Makhmalbaf. A new and diverse generation of British independent filmmakers such as Franny Armstrong, Andrea Arnold, Amma Asante, Clio Barnard, Tina Gharavi, Sally El Hoseini, Carol Morley, Samantha Morton, Penny Woolcock, and Campbell X join a worldwide dialogue between filmmakers and viewers hungry for a new and informed point of view. Lovely, vigorous and brave, the new feminist cinema is a political animal that refuses to be domesticated by the persistence of everyday sexism, striking out boldly to claim the public sphere as its own.
Adopting a comparative perspective, this book traces the social, political, economic and cultural conditions under which environmental movements have emerged, and assesses the transformative capacities of these movements.
Exploring one of the most dynamic and contested regions of the world, this series includes works on political, economic, cultural, and social changes in modern and contemporary Asia and the Pacific.
Almost 50 years have passed since the famous papers of Hugo Rietveld from the late sixties where he describes a method for the refinement of crystal structures from neutron powder diffraction data. Soon after, the potential of the method for laboratory X-ray powder diffraction was discovered. Although the method is now widely accepted, there are still many pitfalls in the theoretical understanding and in practical daily use. This book closes the gap with a theoretical introduction for each chapter followed by a practical approach. The flexible macro type language of the Topas Rietveld software can be considered as the defacto standard.
Exploring one of the most dynamic and contested regions of the world, this series includes works on political, economic, cultural, and social changes in modern and contemporary Asia and the Pacific.
Get the definitive guide on Gatsby, the JavaScript framework for building blazing fast websites and applications. Used by Nike, Costa Coffee, and other companies worldwide, Gatsby is emerging as one of the key technologies in the Jamstack (JavaScript, APIs, and markup) ecosystem. With this comprehensive guide, you'll learn how to architect, build, and deploy Gatsby sites independently or with CMSs, commerce systems, and other data sources. Author Preston So begins by showing you how to set up a Gatsby site from scratch. From there, youâ??ll learn ways to use Gatsbyâ??s declarative rendering and GraphQL API, build complex offline-enabled sites, and continuously deploy Gatsby sites on a variety of platforms, including Gatsby Cloud. Discover how Gatsby integrates with many data sources and plug-ins Set up, configure, and architect Gatsby sites using Gatsby's CLI, React, JSX, and GraphQL with high performance out of the box Build an independent Gatsby site based on Markdown and data- and content-driven Gatsby sites that integrate with CMSs and commerce platforms Deploy Gatsby sites with full CI/CD and test coverage on a variety of platforms, including Netlify, Vercel, and Gatsby Cloud
During the past four decades, the field of development has been dominated by three schools of research. The 1950s saw the modernization school, the 1960s experienced the dependency school, the 1970s developed the new world-system school, and the 1980s is a convergence of all three schools. Alvin Y. So examines the dynamic nature of these schools of development--what each of them represents, their contributions, how they have criticized each other, how they have defended themselves, and how they were transformed. He reviews a variety of empirical studies, focusing on the "classical" and the "new" models, to show how each of the perspectives affects the study of development. In addition, this book features a unique emphasis on the research implications of the three perspectives, involving changes in orientation, agenda, methodology, and findings.
Focusing on the global media coverage of Hong Kong's transfer from Britain to China, Global Media Spectacle explores how the world media plan, operate, compete, and produce a historical record during significant global events. The authors interviewed seventy-six print and television reporters from the United States, Britain, the People's Republic of China, Hong Kong, Taiwan, Australia, Canada, and Japan to delve into the revealing world of writing first drafts of history from reporters' vantage points. Punctuated with witty and incisive examples, the book provides a useful description of contestation and alliance, themes and variations, and convergence and divergence between and within various blocs of nations.
Discusses the policies, practices and outcomes of privatization in six transition economies: the Czech Republic, Hungary, Poland, Russia, Slovenia and Ukraine, paying particular attention to cross-country differences and to interrelations between the processes of privatisation and the political transition from communism to a new system.The analysis is restricted to the privatisation in those fields where its methods have been strongly different from privatisations in advanced market economies and where differences of privatisation principles and techniques among our six countries were also rather various. This is basically the privatisation of middle-sized and large enterprises, not including banks, non-bank financial companies, natural monopolies and agricultural entities.
Feminist filmmakers are hitting the headlines. The last decade has witnessed: the first Best Director Academy Award won by a woman; female filmmakers reviving, or starting, careers via analogue and digital television; women filmmakers emerging from Saudi Arabia, Palestine, Pakistan, South Korea, Paraguay, Peru, Burkina Faso, Kenya and The Cree Nation; a bold emergent trans cinema; feminist porn screened at public festivals; Sweden's A-Markt for films that pass the Bechdel Test; and Pussy Riot's online videos sending shockwaves around the world. A new generation of feminist filmmakers, curators and critics is not only influencing contemporary debates on gender and sexuality, but starting to change cinema itself, calling for a film world that is intersectional, sustainable, family-friendly and far-reaching. Political Animals argues that, forty years since Laura Mulvey's seminal essay 'Visual Pleasure and Narrative Cinema' identified the urgent need for a feminist counter-cinema, this promise seems to be on the point of fulfilment. Forty years of a transnational, trans-generational cinema has given rise to conversations between the work of now well-established filmmakers such as Abigail Child, Sally Potter and Agnes Varda, twenty-first century auteurs including Kelly Reichardt and Lucretia Martel, and emerging directors such as Sandrine Bonnaire, Shonali Bose, Zeina Daccache, and Hana Makhmalbaf. A new and diverse generation of British independent filmmakers such as Franny Armstrong, Andrea Arnold, Amma Asante, Clio Barnard, Tina Gharavi, Sally El Hoseini, Carol Morley, Samantha Morton, Penny Woolcock, and Campbell X join a worldwide dialogue between filmmakers and viewers hungry for a new and informed point of view. Lovely, vigorous and brave, the new feminist cinema is a political animal that refuses to be domesticated by the persistence of everyday sexism, striking out boldly to claim the public sphere as its own.
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