DOCSLIB.ORG

A History of Violence Afghan Luke A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A History of Violence Afghan Luke A PRESS JUNKET RESUME A HISTORY OF VIOLENCE AFGHAN LUKE DON JON A MILLION LITTLE PIECES DON’T BE AFRAID OF THE DARK A WRINKLE IN TIME DORIAN GRAY ABOUT RAY DREDD 3D ALICE THROUGH THE LOOKING GLASS DRIVE ALLURE EASTERN PROMISES AMERICAN PASTORAL ELEPHANT SONG ANNA KARENINA ENEMY ANT-MAN AND THE WASP EXTRAORDINARY MEASURES BABIES EYE IN THE SKY BAO EYE ON JULIET BEARS FED UP BIG HERO 6 FORSAKEN BLACK PANTHER FRANKENWEENIE BLUE VALENTINE FROZEN (Theatrical & DVD Release) BORN IN CHINA FUBAR II BORN TO BE BLUE GOOD NEIGHBORS BRAVE GOON BREAKAWAY GOON: LAST OF THE ENFORCERS BRIGHTON ROCK GRETA BULLY GUARDIANS OF THE GALAXY BURN AFTER READING GUARDIANS OF THE GALAXY VOL. 2 BUTTER HARD CORE LOGO 2 CABIN IN THE WOODS HECTOR AND THE SEARCH FOR HAPPINESS CAFE DE FLORE HEARTBEATS CAPTAIN AMERICA: CIVIL WAR HORNS CARS 3 HOTEL MUMBAI CATFISH HOW I LIVE NOW CHIMPANZEE I, FRANKENSTEIN CHRISTOPHER ROBIN I ORIGINS CINDERELLA IN THE VALLEY OF ELAH INESCAPABLE COCO INCREDIBLES 2 DEAD EUROPE INTO THE WOODS DEAR JOHN INSIDIOUS DEFENDOR INSIDE OUT DELIVERY MAN IRON MAN 3 DEVIL’S KNOT IT’S ONLY THE END OF THE WORLD DISTRICT 9 JOHN CARTER DOCTOR STRANGE JOHN WICK DOLLY PARTON: PURE & SIMPLE ALBUM KILL YOUR DARLINGS PRESS JUNKET RESUME LET ME IN RESERVATION ROAD LINCOLN ROGUE ONE: A STAR WARS STORY LION ROUTE 132 LITTLE ITALY RUBY SPARKS LOVE PUNCH RUSH: BEYOND THE LIGHTED STAGE LOOPER SAMBA MA MA SALMON FISHING IN THE YEMEN MAN OF TAI CHI SEVEN PYSCHOPATHS MANDELA: LONG WALK TO FREEDOM MAPS SHAME TO THE STARS SILVER LININGS PLAYBOOK MCFARLAND SOLO: A STAR WARS STORY METALLICA: THROUGH THE NEVER SOUTHPAW ME AND EARL AND THE DYING GIRL SPOTLIGHT MICHAEL BUBLE: NOBODY BUT ME ALBUM STAR WARS: THE FORCE AWAKENS MILLION DOLLAR ARM STAR WARS: THE LAST JEDI MIRAL STAY MISS YOU ALREADY STEP MOANA STONE MOLLY’S GAME STREET DANCE 3D SURROGATES MOMMY STRONGER MONKEY KINGDOM SUPER TROOPERS 2 MONSTERS UNIVERSITY TAKEDOWN: THE DNA OF GSP MUPPETS MOST WANTED TEEN SPIRIT MY OLD LADY THE AGE OF ADALINE NEED FOR SPEED THE ART OF THE STEAL NEKROTONIC THE ARTIST NICK & NORAH’S INFINITE PLAYLIST THE AVENGERS NO CLUE THE BFG ON THE ROAD THE CAPTIVE OUR MAN IN TEHRAN THE CHILDREN ACT OZ THE GREAT AND POWERFUL THE COBBLER PATTI CAKE$ THE CURRENT WAR PETE’S DRAGON THE DEATH AND LIFE OF JOHN F. DONOVAN PHILOMENA THE DUCHESS POWER RANGERS THE EAST QUARTET THE EDGE OF SEVENTEEN RACE THE F WORD RALPH BREAKS THE INTERNET THE FALL OF THE AMERICAN EMPIRE RAVENOUS THE FIGHTER REMEMBER THE FINEST HOURS PRESS JUNKET RESUME THE GOOD DINO THE GRAND SEDUCTION THE HAPPYTIME MURDERS THE HUNDRED FOOT JOURNEY THE HUNGER GAMES THE JUNGLE BOOK THE KING’S SPEECH THE LAST EXORCISM THE LAST FIVE YEARS THE LONE RANGER THE MOTH DIARIES THE ODD LIFE OF TIMOTHY GREEN THE RIGHT KIND OF WRONG THE RITUAL THE ROAD THE SECRET LIFE OF BEES THE SON THE SPACE BETWEEN US THE STEPS THE THEORY OF EVERYTHING THE TROTSKY THE WARD THE WAY BACK THE WAY, WAY BACK THE WOMAN IN BLACK THOR: RAGNAROK TOM A LA FERME TOMORROWLAND TRAILER PARK BOYS: COUNTDOWN TO LIQUOR DAY TRAILER PARK BOYS: DON’T LEGALIZE IT TRUMBO TRUST TRUTH TWO LOVERS AND A BEAR WILD ROSE WRECK-IT RALPH YOUTH IN REVOLT ZOOTOPIA .
Load more

Recommended publications
  • EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards Only
    EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards only. Includes this year’s nominations. Wins in bold. Years refer to year of presentation. Leading Actor Casey Affleck 1 nomination 2017: Leading Actor (Manchester by the Sea) Andrew Garfield 2 nominations 2017: Leading Actor (Hacksaw Ridge) 2011: Supporting Actor (The Social Network) Also Rising Star nomination in 2011, one nomination (1 win) at Television Awards in 2008 Ryan Gosling 1 nomination 2017: Leading Actor (La La Land) Jake Gyllenhaall 3 nominations/1 win 2017: Leading Actor (Nocturnal Animals) 2015: Leading Actor (Nightcrawler) 2006: Supporting Actor (Brokeback Mountain) Viggo Mortensen 2 nominations 2017: Leading Actor (Captain Fantastic) 2008: Leading Actor (Eastern Promises) Leading Actress Amy Adams 6 nominations 2017: Leading Actress (Arrival) 2015: Leading Actress (Big Eyes) 2014: Leading Actress (American Hustle) 2013: Supporting Actress (The Master) 2011: Supporting Actress (The Fighter) 2009: Supporting Actress (Doubt) Emily Blunt 2 nominations 2017: Leading Actress (Girl on the Train) 2007: Supporting Actress (The Devil Wears Prada) Also Rising Star nomination in 2007 and BAFTA Los Angeles Britannia Honouree in 2009 Natalie Portman 3 nominations/1 win 2017: Leading Actress (Jackie) 2011: Leading Actress (Black Swan) 2005: Supporting Actress (Closer) Meryl Streep 15 nominations / 2 wins 2017: Leading Actress (Florence Foster Jenkins) 2012: Leading Actress (The Iron Lady) 2010: Leading Actress (Julie
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • Code Switching in Eastern Promises Film
    Jurnal Ilmu Budaya Vol. 2, No. 3, Juni 2018 e-ISSN 2549-7715 Hal: 301-311 CODE SWITCHING IN EASTERN PROMISES FILM Rino Tri Wahyudi, M. Bahri Arifin, Ririn Setyowati English Department, Faculty of Cultural Sciences Mulawarman University Pos-el: [email protected] ABSTRACT Code switching is one of interesting topics to be discussed nowadays as it is often encountered by anyone and anywhere in the present time. Code switching appears in many literary works, and one of them is in Eastern Promises film. Eastern Promises film contains code switching of three different languages including English, Russian, and Turkish, and there is also evidence that code switching phenomenon exists in crime film. In criminal situation, the language user performs code switching for particular purposes. This research focused on analyzing the types of code switching and the social factors triggering the characters in performing code switching through descriptive qualitative research. The result of this research showed that there were eighty-one types of code switching found by the researcher in Eastern Promises film. The researcher found three types of code switching performed by ten characters, those types are inter-sentential code switching, tag switching, and intra-sentential code switching. In addition, the researcher also found four social factors in every code switching practices, those social factors are participant, setting, topic, and function. The social factors triggering the ten characters in performing code switching in their utterances show that language variety of the ten characters is a result of relationship between language and social factors that occurs in society. Keywords: code switching, Eastern Promises film ABSTRAK Alih kode adalah salah satu topik yang menarik untuk dibahas dewasa ini sebagaimana alih kode sering ditemui oleh siapapun dan dimanapun di masa sekarang.
    [Show full text]
  • A Dangerous Method
    A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M.
    [Show full text]
  • Pieces of a Woman
    PIECES OF A WOMAN Directed by Kornél Mundruczó Starring Vanessa Kirby, Shia LaBeouf, Molly Parker, Sarah Snook, Iliza Shlesinger, Benny Safdie, Jimmie Falls, Ellen Burstyn **WORLD PREMIERE – In Competition – Venice Film Festival 2020** **OFFICIAL SELECTION – Gala Presentations – Toronto International Film Festival 2020** Press Contacts: US: Julie Chappell | [email protected] International: Claudia Tomassini | [email protected] Sales Contact: Linda Jin | [email protected] 1 SHORT SYNOPSIS When an unfathomable tragedy befalls a young mother (Vanessa Kirby), she begins a year-long odyssey of mourning that touches her husband (Shia LaBeouf), her mother (Ellen Burstyn), and her midwife (Molly Parker). Director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014) and partner/screenwriter Kata Wéber craft a deeply personal meditation and ultimately transcendent story of a woman learning to live alongside her loss. SYNOPSIS Martha and Sean Carson (Vanessa Kirby, Shia LaBeouf) are a Boston couple on the verge of parenthood whose lives change irrevocably during a home birth at the hands of a flustered midwife (Molly Parker), who faces charges of criminal negligence. Thus begins a year-long odyssey for Martha, who must navigate her grief while working through fractious relationships with her husband and her domineering mother (Ellen Burstyn), along with the publicly vilified midwife whom she must face in court. From director Kornél Mundruczó (White God, winner of the Prix Un Certain Regard Award, 2014), with artistic support from executive producer Martin Scorsese, and written by Kata Wéber, Mundruczó’s partner, comes a deeply personal, searing domestic aria in exquisite shades of grey and an ultimately transcendent story of a woman learning to live alongside her loss.
    [Show full text]
  • EASTERN PROMISES Armin Mueller-Stahl TÖDLICHE VERSPRECHEN – EASTERN PROMISES LES PROMESSES DE L’OMBRE
    H-9011:H_ 30.01.2011 15:26 Uhr Seite 404 Berlinale 2011 David Cronenberg Hommage EASTERN PROMISES Armin Mueller-Stahl TÖDLICHE VERSPRECHEN – EASTERN PROMISES LES PROMESSES DE L’OMBRE Kanada/USA/ Großbritannien 2007 Länge 100 Min. Format 35 mm, 1:1.85 Farbe Stabliste Regie David Cronenberg Buch Steven Knight Kamera Peter Suschitzky David Cronenberg Kameraassistenz David Penfold Schnitt Ronald Sanders Biografie Ton Stuart Wilson Geboren am 15.3.1943 in Toronto. Musik Howard Shore Studierte Naturwissenschaften, dann Art Director Nick Palmer Literatur. Drehte nach einer Ausbildung Kostüm Denise Cronenberg beim kanadischen Fernsehen ebenso Regieassistenz Walter Gasparovic explizite wie intelligente Horrorfilme, Casting Deirdre Bowen mit denen er den „body horror“ und Armin Mueller-Stahl, Naomi Watts Nina Gold sich selbst als unabhängigen Autoren - Produktionsltg. Bobby Prince filmer etablierte. Arbeitete weiterhin TÖDLICHE VERSPRECHEN – EASTERN PROMISES Produzenten Robert Lantos auch fürs Fernsehen sowie als Schau - Paul Webster spieler. War 1992 mit NAKED LUNCH, Anna ist Hebamme in einem Krankenhaus in East London. Dort bringt eine Tracey Seaward 1999 mit EXISTENZ im Wettbewerb der junge Russin ein Kind zur Welt und stirbt. Anna nimmt sich des Babys an. Berlinale vertreten. Zuletzt war er vor Angeleitet vom Tagebuch der Toten, in dem diese über Zwangsprostitution Produktion allem mit psychologischen Thrillern im und Drogen klagt, sucht sie Kontakt zu russischen Emigranten und gelangt Serendipity Point Films, Toronto Kino präsent. in ein Restaurant, von dem aus der alte, aber nicht greise Patriarch Semyon – Focus Features, Universal City Kudos Film and TV, London Biography ebenso gemütlich wie brutal – die Londoner Russenmafia befehligt. In Scion Films, London Born in Toronto on 15.3.1943, he stud- David Cronenbergs düsterem Unterweltthriller agiert Armin Mueller-Stahl BBC Films, London ied natural sciences and then literature.
    [Show full text]
  • Oxford Lecture 1 - Final Master
    OXFORD LECTURE 1 - FINAL MASTER HOW TO GROW A CREATIVE BUSINESS BY ACCIDENT The legendarily bullish film director Alan Parker once adapted Shaw's famous dictum about the academic profession - "those who can, do. Those who can't teach." So far so familiar. And to many in this room, no doubt, so annoying. But he went on: "those who can't teach, teach gym. And those who can't teach gym, teach at film school." I appreciate that Oxford is not a film school, though it has a more distinguished record than any film school for supplying the talent that has fuelled the British film and TV industries for almost a century - on and off camera. Writers like Richard Curtis, who brought us 4 Weddings and a Funeral, Love Actually, The Vicar of Dibley and Blackadder; or The Full Monty and Slumdog Millionaire scribe Simon Beaufoy; directors of the diversity of Looking for Eric's Ken Loach and 24 Hour Party People's Michael Winterbottom; writer/directors like Monty Python's Terry Jones and the Thick of It's Armando Iannucci; actors and performers ranging from Hugh Grant to Rowan Atkinson; and broadcasting luminaries like the BBC's Director General Mark Thompson and News International's very own Rupert Murdoch. So, Oxford has been a pretty efficient film and TV school, without even trying. And perhaps that is Parker's point. Can what passes for creativity in film and TV ever really be taught? But here in my capacity as News International Visiting Professor of Broadcast Media (or if you prefer an acronym, NIVPOB - the final M is silent) I may be even further down Parker's food chain.
    [Show full text]
  • Tribeca Film in Partnership with American Express and Entertainment 1 Present
    Tribeca Film in Partnership with American Express and Entertainment 1 Present Release: April 22, 2011 – NY/LA/Chicago/Irvine April 29, 2011 – Washington DC/Seattle/Santa Monica May 6, 2011 – Landsdowne, PA/Monterey, CA/Long Beach, CA May 13, 2011 – San Diego May 20, 2011 – Palm Desert, CA With additional marKets TBC VOD - April 20 – June 23 PRESS CONTACT Distributor: Publicity: Tribeca Film ID PR Tammie Rosen Dani Weinstein 212-941-2003 Sara Serlen [email protected] Sheri Goldberg 375 Greenwich Street 212-334-0333 New York, NY 10011 [email protected] 150 West 30th Street, 19th Floor New York, NY 10001 1 SYNOPSIS The Bang Bang Club is the real life story of a group of four young combat photographers - Greg Marinovich, Joao Silva, Kevin Carter and Ken Oosterbroek - bonded by friendship and their sense of purpose to tell the truth. They risked their lives and used their camera lenses to tell the world of the brutality and violence associated with the first free elections in post Apartheid South Africa in the early 90s. This intense political period brought out their best work – two won Pulitzers during the period – but cost them a heavy price. Based on the book of the same name by Marinovich and Silva, the film stars Ryan Phillipe, Malin Akerman and Taylor Kitsch and explores the thrill, danger and moral questions associated with exposing the truth. 2 ABOUT THE DIRECTOR Written and directed by Steven Silver, The Bang Bang Club is a Canada/South Africa co-production from producer Daniel Iron of Foundry Films Inc.
    [Show full text]
  • 89Th Annual Academy Awards® Oscar® Nominations Fact
    ® 89TH ANNUAL ACADEMY AWARDS ® OSCAR NOMINATIONS FACT SHEET Best Motion Picture of the Year: Arrival (Paramount) - Shawn Levy, Dan Levine, Aaron Ryder and David Linde, producers - This is the first nomination for all four. Fences (Paramount) - Scott Rudin, Denzel Washington and Todd Black, producers - This is the eighth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013) and The Grand Budapest Hotel (2014). This is the first nomination in this category for both Denzel Washington and Todd Black. Hacksaw Ridge (Summit Entertainment) - Bill Mechanic and David Permut, producers - This is the first nomination for both. Hell or High Water (CBS Films and Lionsgate) - Carla Hacken and Julie Yorn, producers - This is the first nomination for both. Hidden Figures (20th Century Fox) - Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, producers - This is the fourth nomination in this category for Donna Gigliotti, who won for Shakespeare in Love (1998). Her other Best Picture nominations were for The Reader (2008) and Silver Linings Playbook (2012). This is the first nomination in this category for Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi. La La Land (Summit Entertainment) - Fred Berger, Jordan Horowitz and Marc Platt, producers - This is the first nomination for both Fred Berger and Jordan Horowitz. This is the second nomination in this category for Marc Platt. He was nominated last year for Bridge of Spies. Lion (The Weinstein Company) - Emile Sherman, Iain Canning and Angie Fielder, producers - This is the second nomination in this category for both Emile Sherman and Iain Canning, who won for The King's Speech (2010).
    [Show full text]
  • Eastern Promises and the Continuing Decline of David Cronenberg
    World Socialist Web Site wsws.org Eastern Promises and the continuing decline of David Cronenberg By Hiram Lee 16 October 2007 Eastern Promises, directed by David Cronenberg, diary and has uncovered some disturbing entries. screenplay by Steven Knight Semyon and his family, it turns out, are part of the Eastern Promises is the follow-up to veteran Russian mafia and the young girl—a teenager—who Canadian director David Cronenberg’s A History Of wrote the diary was held prisoner by them, exploited Violence. Both are films working in and around the and raped. gangster movie genre, unusual for a director best As the film progresses, a struggle between the mafia known for his horror and science fiction films, and both and Anna for possession of the diary will escalate, have made Cronenberg into something of a critical putting Anna and her own family in great danger. She darling. And, in some ways, it’s not hard to see why. will, however, find an unlikely ally in the mafia’s Cronenberg is, at least superficially, better than a great chauffeur and “undertaker,” Nikolai (Viggo many mainstream filmmakers in terms of his technique, Mortensen). his unpredictability and his ability to draw rich Apart from a few eccentric moments,Eastern performances from his actors. This speaks not only to Promises is a more or less conventional gangster his talents—and he is talented—but also to the prevailing movie. It has all the clichés one has come to expect of artistic weakness in Hollywood and so-called the genre. There is the reckless mobster who murders a “independent” cinema.
    [Show full text]
  • Mutating Masculinity: Re-Visions of Gender and Violence in the Cinema of David Cronenberg
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Mutating masculinity: re-visions of gender and violence in the cinema of David Cronenberg. Loren, Scott Abstract: Though the films of David Cronenberg might not always be concerned with gender froma social constructivist or performative perspective, I think one readily agrees with Linda Ruth Williams’ claim that “for Cronenberg, anatomy is anything but destiny”3. For decades, his characteristic mutations of gendered bodies have repeatedly accompanied the destabilization of fixed notions about gender. It seems that the most fixed notion of gender to be found in his work is that gender is mutable. Likethe physical boarders to bodies in his films, gender is repeatedly undone, constantly shifting, threatening to become something else. For Cronenberg, a perpetual undoing and rearticulation of gender raises the question of when a man becomes a man in a rather unconventional manner. His films initially encourage us to ask other questions, like: “When does a man become a walking, speaking anus?” (Naked Lunch); “when does a man become an insect?” (The Fly); “when does a man become a machine?” (Videodrome, The Fly, Crash, eXistenZ). Of course one would also have to ask: “When does a man become a woman?” (Crimes of the Future, M. Butterfly) “When is a man completely unable to enter manhood?” (Spider) “When is a man a monster?” and “Is a man ever ‘simply’ a man?” (most of his films). It seems that with the release of each new film, one must rearticulate inquiries into the staging of gender in Cronenberg’s work, which is precisely what I wish to do here.
    [Show full text]
  • Kings for All Seasons
    BROOKINGS DOHA CENTER ANALYSIS PAPER Number 8, September 2013 KINGS FOR ALL SEASONS: HOW THE MIDDLE EAST’S MONARCHIES SURVIVED THE ARAB SPRING F. GREGORY GAUSE, III B ROOKINGS The Brookings Institution is a private non-profit organization. Its mission is to conduct high-quality, independent research and, based on that research, to provide innovative, practical recommendations for policymakers and the public. The conclusions and recommendations of any Brookings publica- tion are solely those of its author(s) and do not reflect the views of the Institution, its management, or its scholars. Copyright © 2013 THE BROOKINGS INSTITUTION 1775 Massachusetts Avenue, N.W. Washington, D.C. 20036 U.S.A. www.brookings.edu BROOKINGS DOHA CENTER Saha 43, Building 63, West Bay, Doha, Qatar www.brookings.edu/about/centers/doha T A B LE OF C ON T EN T S I. Executive Summary ............................................................................................................1 II. Introduction ......................................................................................................................3 III. “Just Wait, They Will Fall” .............................................................................................5 IV. The Strange Case of Monarchical Stability .....................................................................8 Cultural Legitimacy ...................................................................................................8 Functional Superiority: Performance and Reform ..................................................12
    [Show full text]