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War crimes and politics of terror in Chechnya 1994-2004
The ‘War crimes and politics of terror in Chechnya 1994-2004’ case study describes the constraints, questions and dilemmas experienced by MSF while speaking out during the two Russian-Chechen wars and the following years of ‘normalization’. Was speaking out the right thing to do with regard to Russia, a power with a veto at the UN Security Council and a tradition of propaganda control of the public arena? Was it realistic to rely on raising the awareness of other UN member states via their public’s opinion? In a context of terror, when dealing with a regime in denial of the reality of a conflict, was it useful and was it up to MSF to call for having this situation qualified as ‘w...
Frame by Frame III
An invaluable compendium for anyone interested in cinema
Today We Drop Bombs, Tomorrow We Build Bridges
'An indispensible inquiry into our moral health and humanity.' LSE Review of Books The war on terror has politicised foreign aid as never before. Aid workers are being killed at an alarming rate and civilians in war-torn countries abandoned to their fate. From the ravaged streets of Mogadishu to the unending struggle in Helmand, Peter Gill travels to some of the most conflict-stricken places on earth to reveal the true relationship between the aid business and Western security. While some agencies have clung to their neutrality against ever stiffer odds, others have compromised their impartiality to secure the flow of official funds. In a world where the advance of Islamic State constitutes the gravest affront to humanitarian practice and principle the aid community has faced in decades, Gill poses the crucial question – can Western nations fight in a country and aid it at the same time?
Médecins Sans Frontières, Evolution of an International Movement: Associative History 1971-2011
When Médecins Sans Frontières (MSF) was founded in 1971, it was founded with both international and associative dimensions. International because it wouldn’t have made sense for MSF France, on its own, to aid threatened populations around the world and associative because civil law in France, especially the 1901 law governing charitable bodies, was perfectly suited to the MSF organisation’s guiding precepts, which are democratic and selfless in nature. Yet, MSF’s development from a small, purely French organisation to an international associative movement was never carefully planned or particularly smooth. MSF’s development was the result of various compromises between the movement...
When Music Takes Over in Film
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.
Directory of World Cinema: Africa
Eschewing the postcolonial hubris that suggests Africa could only define itself in relation to its colonizers, a problem plaguing many studies published in the West on African cinema, this entry in the Directory of World Cinema series instead looks at African film as representing Africa for its own sake, values, and artistic choices. With a film industry divided by linguistic heritage, African directors do not have the luxury of producing comedies, thrillers, horror films, or even love stories, except perhaps as DVDs that do not travel far outside their country of production. Instead, African directors tend to cover serious sociopolitical ground, even under the cover of comedy, in the hopes of finding funds outside Africa. Contributors to this volume draw on filmic representations of the continent to consider the economic role of women, rural exodus, economic migration, refugees and diasporas, culture, religion and magic as well as representations of children, music, languages and symbols. A survey of national cinemas in one volume, Directory of World Cinema: Africa is a necessary addition to the bookshelf of any cinephile and world traveller.
Abilifaie Leponaix
Quatre schizophrènes aux frontières de la raison humaine se côtoient, se frôlent, s'évitent entre les couloirs de l'hôpital et leurs froids appartements thérapeutiques. Prisonniers de leurs hallucinations, captifs de leur monde intérieur, ils se montrent aussi capables d'une étonnante fraternité, d'une frappante lucidité, parfois même d'amour. C'est à la lumière de témoignages réels recueillis par la jeune psychologue Margot Morgiève entre 2006 et 2008 que cette pièce de théâtre a été écrite.
Reel Women
In the last several decades, the number of films featuring female protagonists has increased significantly. Many of these films reflect the vast cultural and sociological changes that have taken place since the early 1960s, highlighting not only a wide spectrum of female characters depicted onscreen, but the creative work of women behind the camera as well. In Reel Women: An International Directory of Contemporary Feature Films about Women, media librarian Jane Sloan has assembled an impressive list of more than 2400 films—from nearly 100 countries—that feature female protagonists. Each entry includes a brief description of the film and cites key artistic personnel, particularly female d...
Blue.fr
Blue est enceinte, elle ne sait rien de son passé, ni de ceux qui lui ont donné ce prénom étrange. Elle mène son combat face à l'énorme machine du monde qui la broie. Dans ce monde absurde, bouffé par la pub et la virile obsession de la performance, Blue rencontre deux types, Chips et Tosca. Elle croit encore en l'amour, parce que même dans cette ville sans espoir, Blue est persuadée qu'elle peut changer le monde.
