Understanding Violence

Total Page:16

File Type:pdf, Size:1020Kb

Understanding Violence Edited by Marika Guggisberg and David Weir Understanding Violence At the Interface Series Editors Dr Robert Fisher Dr Nancy Billias Advisory Board Dr Alejandro Cervantes-Carson Martin McGoldrick Professor Margaret Chatterjee Revd Stephen Morris Dr Wayne Cristaudo Professor John Parry Mira Crouch Paul Reynolds Dr Phil Fitzsimmons Professor Peter Twohig Professor Asa Kasher Professor S Ram Vemuri Owen Kelly Revd Dr Kenneth Wilson, O.B.E A Probing the Boundaries research and publications project. http://www.inter-disciplinary.net/probing-the-boundaries/ The Hostility and Violence Hub ‘Violence and the Contexts of Hostility’ Understanding Violence: Contexts and Portrayals Edited by Marika Guggisberg & David Weir Inter-Disciplinary Press Oxford, United Kingdom © Inter-Disciplinary Press 2009 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi- disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. ISBN: 1-904710-65-4 / 978-1-904710-65-3 First published in the United Kingdom in paperback in 2009. First edition. Table of Contents Preface Understanding Violence ix Marika Guggisberg and David Weir Section 1 Deconstructing Representations of Violence in Art, Literature, and the Media Post 9/11 and Screen Violence Gabrielle Murray 3 Arabs and Muslims in Hollywood: Breaking Down The Siege Kenza Oumlil 15 Nostalgic Violence? Neo-Victorian (Re-) Visions of Historical Conflict Marie-Luise Kohlke 25 Media, Women and Domestic Violence in Turkey Mine Gencel Bek and Abdülrezak Altun 39 Racist Violence Attacks on Foreigners, Mass-Media and Fear of Crime Hakan Arikan 45 Symbolic and Discursive Violence in Media: Representations of Aboriginal Missing and Murdered Women Yasmin Jiwani 63 Representations of Intimidation of and Violence against Women in Art from the 16th - 20th Centuries Dolores Villaverde Solar and Elena Alfaya Lamas 75 Representations of Violence in Contemporary South African Fiction Zuzana Luckay 83 Section 2 Ethnic-based Violence The Intimacy of Enmity: The Hezbollah-Israel Relation Daniel Meier 95 The Struggle for Survival and Security in the Middle East: An Ethnological Observation of Public Discourse in Israel Aide Esu 109 The Changing Logic of Political Violence: The Case of the PKK in Turkey after the Invasion of Iraq - Violence for Violence’s Sake Rasim Özgür Dönmez and Pınar Enneli 121 Printing a Pogrom: Violence and Print Communities in the Case of Captain Keller Roland Clark 133 Section 3 Subliminal Violence Preventing ‘Ideal’ Communication by Linguistic Violence Gabriela Scripnic, Alina Ganea and Anca Gâţă 151 The Promise of Violence: Closed Circuit Television and the Contemporary Construction of Governmentality Jeff Heydon 163 ‘Domesticating’ Violence in Interwar Romania Corina Pălăşan 173 ‘Resurrecting’ the Self: Atomising the Individual via Solitary Confinement Siyaves Azeri 189 Section 4 Victims of Violence Rape as a Weapon of War: The Long-Term Effects on Victims and Society Cassandra Clifford 205 Mental Health and Substance Use Problems: The ‘Invisible’ Scars of Intimate Partner Violence Victimisation Marika Guggisberg 223 How Does Mothers’ Sexual Abuse Trauma Beget Trauma in Daughters? The Constellation of Mother Complex Neringa Grigutytė 233 Powerful, Educated and Immune from Justice: Contemporary Cambodian Vitrioleuses Jane Welsh 243 The Land of Oz: Youth Gangs and Child Soldiers Melissa Zisler 253 Section 5 Attempts at Countering Violence Mashing Power: Musical Imaginings of the Unimaginable David Weir 267 Günter Grass - His Commitment Against Violence Cornelia Caseau 277 The Rhetoric of Violence in African Literature Oumar Diop 289 The Role of NGOs in Promoting Children’s Participation in Domestic Violence Prevention Monica Denomy 301 Notes on Contributors 311 Understanding Violence Marika Guggisberg and David Weir 1. Introduction Since the very dawn of time earthly existence has been inexorably attended by the threat of violence. Our distant nomadic ancestors endured the destructive wrath of intermittently unleashed elemental forces well before the commencement of civilisation. Yet the destruction wrought by fire, wind, water and earth, though it has remained spectacular in its scope and scale throughout the development of increasingly complex forms of human cohesion, is now secondary to the violence to which these forms have given rise. Within the social realm, violence is used in many different contexts, inflicting harm upon individuals, communities, cultures and physical environments.1 Indeed, violence appears to be omnipresent, underlying a host of individual, institutional and social practices in contemporary society. Violence takes many forms, some of them overt, and some less obvious. The use of ‘reasonable’ physical force under certain circumstances and within certain culturally defined norms has long been deemed appropriate by those empowered both to define those norms and to apply the force.2 However, what constitutes ‘reasonable’ force in one culture may not necessarily apply in another. Moreover, within any one culture, the question of when it is, or is not, permissible to use force, is dependent upon subjectivities that may be born of a variety of social, political, ideological and religious influences. Similarly, subjective understandings of what constitutes ‘appropriate’ behaviour in a particular situation inevitably lead to other, less overt forms of violence, which almost invariably tend to be constituted by some form of interference with the autonomy of individuals and/or communities. Questions then arise: when is violence deemed appropriate and reasonable and when does its use pose a problem for individuals, communities, and the environment? Violent acts and the variety of different forms of violence, its causes, consequences and developmental patterns have only recently come under the gaze of academia.3 Since then, these categories have formed the grounds for many different theoretical frameworks. More recently, the focus of attention has also been upon investigating opportunities to prevent the occurrence of violence. Given its global reach and multifarious expressions, the subject of violence invites study from a variety of perspectives and locations. An x Introduction ______________________________________________________________ interdisciplinary approach to collecting and analysing information on violence yields broader patterns of its occurrence, thereby allowing more insightful conceptualisations of its nature. Violence perpetrated against individuals, communities, and the environment is all too often condoned and reinforced by individuals in positions of power along with power structures, either implicitly or explicitly. Whether violence is embedded in racial, national or interpersonal disputes, or is enacted through representations in art, literature, or the media, its investigation from the perspectives of different disciplines provides opportunities to challenge myths and stereotypes held by scholars, professionals in the field and the public. Violence prevention must challenge the different contexts of violence, which is a goal we believe is achievable. Expanding the knowledge-base on violence and its prevention proceeds from a diverse set of papers that were presented at the 7th Probing the Boundaries - Violence in the Context of Hostility conference in Budapest, Hungary from 5 - 7 May 2008. This eBook provides a ‘snapshot’ of some of the papers as they were presented at the conference, which offered a platform for scholars from all over the world and multiple disciplines to consider both existing and potential problems and prevention efforts. It is our contention that from this convergence of scholarly thought upon the potential harmfulness of violence in all of its embodiments, both explicit and implicit, a better understanding of the many different forms and patterns of violence may be gained. This, we argue, may have implications for prevention and intervention efforts. From the vantage points of their respective disciplines, the authors represented in this eBook interrogated the logics of state-sanctioned violence, teased out translucent filaments of covertly exercised violence, and questioned the social and economic mechanisms by which violence is constructed and maintained. The articles presented here highlight some ongoing efforts to counter violence in its many forms. In doing so, they emphasise the need for communication between different disciplines on a global rather than a local level. From these articles it becomes evident that intervention and prevention efforts should be informed by evidence from different geographic locations and multiple disciplines, implying that interdisciplinary and international cooperation are key elements for developing strategies to combat violence in its various occurrences. 2. Overview of this eBook In Chapter 1, “Deconstructing
Recommended publications
  • Stage Violence, Power and the Director an Examination
    STAGE VIOLENCE, POWER AND THE DIRECTOR AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE by Jordan Matthew Walsh Bachelor of Philosophy, University of Pittsburgh, 2012 Submitted to the Faculty of the University of Pittsburgh in partial fulfillment of the requirements for the degree of Bachelor of Philosophy. The University of Pittsburgh May 2012 UNIVERSITY OF PITTSBURGH ARTS & SCIENCES This thesis was presented by Jordan Matthew Walsh It was defended on April 13th, 2012 and approved by Jesse Berger, Artistic Director, Red Bull Theater Company Cynthia Croot, Assistant Professor, Theatre Arts Department Annmarie Duggan, Assistant Professor, Theatre Arts Department Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts Department 2 Copyright © by Jordan Matthew Walsh 2012 3 STAGE VIOLENCE AND POWER: AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE Jordan Matthew Walsh, BPhil University of Pittsburgh, 2012 This exploration of stage violence is aimed at grappling with the moral, theoretical and practical difficulties of staging acts of extreme violence on stage and, consequently, with the impact that these representations have on actors and audience. My hypothesis is as follows: an act of violence enacted on stage and viewed by an audience can act as a catalyst for the coming together of that audience in defense of humanity, a togetherness in the act of defying the truth mimicked by the theatrical violence represented on stage, which has the potential to stir the latent power of the theatre communion. I have used the theoretical work of Antonin Artaud, especially his “Theatre of Cruelty,” and the works of Peter Brook, Jerzy Grotowski, and Sarah Kane in conversation with Artaud’s theories as a prism through which to investigate my hypothesis.
    [Show full text]
  • Brokeback Mountain'' and the Oscars I Lesbijek
    ''Americans Don't Want Cowboys to Be Gay:'' Amerykanów, nawet wśród najbardziej liberalnych heteroseksualnych popleczników równouprawnienia gejów ''Brokeback Mountain'' and the Oscars i lesbijek. ______________________ William Glass When Crash (2005) was the surprise best picture winner at the 2006 Oscar ceremony, a variety of explanations were offered for the ("Amerykanie nie chcą kowbojów-gejów". "Brokeback Moutain" upset over the pre-Oscar favorite, Brokeback Mountain (2005). i Oskary) Some suggested a Brokeback backlash occurred; that is, that Brokeback Mountain, which had won critical praise and awards from STRESZCZENIE: Kiedy w 2006 roku Crash zdobył the time of its release and was the highest grossing picture of the five niespodziewanie Oskara za najlepszy film roku, pojawiło się wiele nominated, had worn out its welcome with the Academy voters. prób wyjaśnienia porażki, jaką poniósł przedoskarowy faworyt, Others argued that the Academy got it right: Crash was the superior Brokeback Mountain. Celem tego eseju nie jest porównanie film. A few mentioned the massive marketing campaign by the walorów artystycznych tych dwóch filmów, ani też ustalenie, czy studio on behalf of Crash, swamping the members of the Academy odrzucenie obrazu Brokeback Mountain przez Akademię with free copies of the DVD. Another popular explanation was that motywowane było ukrytą homofobią, ale raczej odpowiedź na since Crash was set in Los Angeles and since most Academy pytanie, czego można dowiedzieć się o powszechnych postawach members live in Los Angeles, the voters chose the movie that i wyobrażeniach dotyczących miejsca gejów i lesbijek reflected their experiences.[1] Larry McMurtry, one of the w społeczeństwie amerykańskim na podstawie dyskusji na temat screenwriters for Brokeback Mountain, offered two of the more zwycięstwa filmu Crash, która toczyła się w Internecie, na blogach insightful explanations, both of which turned on prejudice.
    [Show full text]
  • Politics, Feasts, Festivals SZEGEDI VALLÁSI NÉPRAJZI KÖNYVTÁR BIBLIOTHECA RELIGIONIS POPULARIS SZEGEDIENSIS 36
    POLITICS, FEASTS, FESTIVALS SZEGEDI VALLÁSI NÉPRAJZI KÖNYVTÁR BIBLIOTHECA RELIGIONIS POPULARIS SZEGEDIENSIS 36. SZERKESZTI/REDIGIT: BARNA, GÁBOR MTA-SZTE RESEARCH GROUP FOR THE STUDY OF RELIGIOUS CULTURE A VALLÁSI KULTÚRAKUTATÁS KÖNYVEI 4. YEARBOOK OF THE SIEF WORKING GROUP ON THE RITUAL YEAR 9. MTA-SZTEMTA-SZTE VALLÁSIRESEARCH GROUP KULTÚRAKUTATÓ FOR THE STUDY OF RELIGIOUS CSOPORT CULTURE POLITICS, FEASTS, FESTIVALS YEARBOOK OF THE SIEF WORKING GROUP ON THE RITUAL YEAR Edited by Gábor BARNA and István POVEDÁK Department of Ethnology and Cultural Anthropology Szeged, 2014 Published with the support of the Hungarian National Research Fund (OTKA) Grant Nk 81502 in co-operation with the MTA-SZTE Research Group for the Study of Religious Culture. Cover: Painting by István Demeter All the language proofreading were made by Cozette Griffin-Kremer, Nancy Cassel McEntire and David Stanley ISBN 978-963-306-254-8 ISSN 1419-1288 (Szegedi Vallási Néprajzi Könyvtár) ISSN 2064-4825 (A Vallási Kultúrakutatás Könyvei ) ISSN 2228-1347 (Yearbook of the SIEF Working Group on the Ritual Year) © The Authors © The Editors All rights reserved Printed in Hungary Innovariant Nyomdaipari Kft., Algyő General manager: György Drágán www.innovariant.hu https://www.facebook.com/Innovariant CONTENTS Foreword .......................................................................................................................... 7 POLITICS AND THE REMEMBraNCE OF THE Past Emily Lyle Modifications to the Festival Calendar in 1600 and 1605 during the Reign of James VI and
    [Show full text]
  • Volume 24 1997 Issue 73
    Review of African Political Economy No.73:307-310 © ROAPE Publications Ltd., 1997 ISSN 0305-6244; RIX #7301 Commentary Ray Bush & Morris Szeftel This issue continues the critical evaluation of aspects of Africa's economic and political crisis offered in previous editions of the ROAPE Review of Books in the hope of an effective alternative to prevailing notions. In the present conjuncture, the dominant forces of global capitalism restrict the policy agenda with regard to arresting economic decline, ethnic conflict and state disintegration. Structural adjustment (imposing externally-regulated liberalisation) and liberal democratic political reform (largely confined to electoral competition among a small elite and the sponsorship of civil society) have been the only games in town. The evidence is everywhere that this narrow agenda is inadequate for the task. Its apologists defend it, not by pointing to their successes or their intellectual coherence and elegance, but by reiterating that there are no alternatives. Hence the need to encourage the widest range of critical contributions in that hope that, from them, alternatives will begin to emerge. The need for a new agenda is manifest. Economic restructuring, after 25 years of failure and despite the continuing brutality of its social impact, draws only muted criticism. Despite these failures, and notwithstanding occasional hand-wringing by the World Bank (as it accepts that mistakes have been made and launches a new slogan), Africa continues to be 'adjusted' to fit it for its station on the margins of world capitalist markets. The disappointments of democratisation are more recent and thus less fully explored. But the limitations of political pluralism as a means of promoting democratisation and overcoming the instability, ineffectiveness and corruption of post-colonial states, are already clear.
    [Show full text]
  • BLACK SHEEP FILM, Fig Tree Wins the Prestigious Audentia Award at TIFF, 16/09/2018
    AUDENTIA AWARD 2018 PRESS RELEASES BLACK SHEEP FILM, Fig Tree wins the prestigious Audentia Award at TIFF, 16/09/2018 BLICKPUNKT: FILM, Eurimages verleiht Audentia Award in Toronto, 14/09/2018 BROADWAY WORLD, The Toronto International Film Festival Announces 2018 Award Winners, 17/09/2018 The Toronto International Film Festival Announces 2018 Award Winners Sep. 17, 2018 CANADA GOOSE AWARD FOR BEST CANADIAN FEATURE FILM The Canada Goose ® Award for Best Canadian Feature Film goes to Sébastien Pilote's The Fireflies Are Gone (La disparition des lucioles). The jury said it was chosen, "For its true-to-life depiction of a young woman's quest to find meaning and hope in a world that has constantly disappointed her." This award carries a cash prize of $30,000 and a custom award, sponsored by Canada Goose®. THE PRIZES OF THE INTERNATIONAL FEDERATION OF FILM CRITICS (FIPRESCI PRIZES) For the 27th year, the Festival welcomed an international FIPRESCI jury. This year's jury is comprised of Jury President Lesley Chow (Australia), Andrés Nazarala (Chile), Astrid Jansen (Belgium), Pierre Pageau (Canada), James Slotek (Canada), and Viswanath Subrahmanyan (India). The Prize of the International Federation of Film Critics (FIPRESCI) for the Discovery programme is awarded to Carmel Winters for Float Like a Butterfly, which the jury called "a pastoral and traditional bucolic film, capturing the familiar angst and anxiety a young adult woman undergoes in order to have her say in the scheme of things in a predominately male-driven patriarchal society." "Through her spectacular and deft narrative, nuanced understanding of the dilemmas women face, and a pitch- perfect performance by Hazel Doupe, this film is a triumph of free spirit." Honourable mention goes to Laura Luchetti's Twin Flower.
    [Show full text]
  • Universidade Federal De Santa Catarina Pós-Graduação Em Letras/Inglês E Literatura Correspondente
    UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE SHAKESPEARE IN THE TUBE: THEATRICALIZING VIOLENCE IN BBC’S TITUS ANDRONICUS FILIPE DOS SANTOS AVILA Supervisor: Dr. José Roberto O’Shea Dissertação submetida ao Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente da Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção do grau de MESTRE EM LETRAS FLORIANÓPOLIS MARÇO/2014 Agradecimentos CAPES pelo apoio financeiro, sem o qual este trabalho não teria se desenvolvido. Espero um dia retribuir, de alguma forma, o dinheiro investido no meu desenvolvimento intelectual e profissional. Meu orientador e, principalmente, herói intelectual, professor José Roberto O’Shea, por ter apoiado este projeto desde o primeiro momento e me guiado com sabedoria. My Shakespearean rivals (no sentido elisabetano), Fernando, Alex, Nicole, Andrea e Janaína. Meus colegas do mestrado, em especial Laísa e João Pedro. A companhia de vocês foi de grande valia nesses dois anos. Minha grande amiga Meggie. Sem sua ajuda eu dificilmente teria terminado a graduação (e mantido a sanidade!). Meus professores, especialmente Maria Lúcia Milleo, Daniel Serravalle, Anelise Corseuil e Fabiano Seixas. Fábio Lopes, meu outro herói intelectual. Suas leituras freudianas, chestertonianas e rodrigueanas dos acontecimentos cotidianos (e da novela Avenida Brasil, é claro) me influenciaram muito. Alguns russos que mantém um site altamente ilegal para download de livros. Sem esse recurso eu honestamente não me imaginaria terminando essa dissertação. Meus amigos. Vocês sabem quem são, pois ouviram falar da dissertação mais vezes do que gostariam ao longo desses dois anos. Obrigado pelo apoio e espero que tenham entendido a minha ausência.
    [Show full text]
  • I. Ontario Proud's Advertising Campaign
    P.O. Box 821, Stn. B, Ottawa K1P 5P9 Tel: 613-241-5179 Fax: 613-241-4758 Email: [email protected] Internet: http://democracywatch.ca Mr. Greg Essensa Chief Electoral Officer of Ontario 51 Rolark Drive Toronto, Ontario M1R 3B1 Via Email To: [email protected] January 10, 2019 RE: Ontario Proud election advertising complaint Dear Mr. Essensa: We are writing to request an investigation into the advertising activities of Ontario Proud during the 2018 Ontario election pre-writ and writ period. I. Ontario Proud’s Advertising Campaign Ontario Proud was a registered third-party advertiser during the pre-writ period and election campaign period of the 2018 Ontario election. It spent $375,248.24 on advertising during the pre-writ period and $72,163.08 during the election campaign period. Its Financial Statement can be seen at: https://finances.elections.on.ca/en/statements/0000010619 and its list of contributors to its advertising efforts can be seen at: https://finances.elections.on.ca/en/contributions?entityNames=Ontario%20Proud&fromY ear=2014&toYear=2019 and its overall report (with some redactions) can be seen at: https://democracywatch.ca/wp-content/uploads/395500917-Ontario-Proud-financial- statement.pdf According to its Financial Statement and this news article: https://globalnews.ca/news/4747339/ontario-proud-donations/ Ontario Proud spent the following amounts on ads during the pre-writ and election campaign periods: TV ads - $60,642 Facebook ads - $155,976 YouTube ads - $154,250 Ontario Proud’s website is: https://www.ontarioproud.ca/
    [Show full text]
  • The Struggle for Self-Determination: a Comparative Study of Ethnicity and Nationalism Among the Quebecois and the Afrikaners
    The Struggle for Self-Determination: A Comparative Study of Ethnicity and Nationalism Among the Quebecois and the Afrikaners By: Allison Down This thesis is presented in partial fulfilment of the requirements for the degree of Master of Arts at the University of Stellenbosch. Supervisor: Professor Simon B. Bekker Date Submitted: December, 1999 Stellenbosch University https://scholar.sun.ac.za Declaration I, the undersigned hereby declare that the work contained in this thesis is my own original work and has not previously in its entirety or in part been submitted at any university for a degree. Signature Date Stellenbosch University https://scholar.sun.ac.za Abstract This thesis examines the structural factors that precipitate the emergence of ethnicity and nationalism, with a special emphasis on ethno-Iinguistic identity. Nationalist momentum leading to self-determination is also addressed. A historical comparative study of the Quebecois of Canada and the Afrikaners of South Africa is presented. The ancestors of both the Quebecois and the Afrikaners left Europe (France and the Netherlands, respectively) to establish a new colony. Having disassociated themselves from their European homeland, they each developed a new, more relevant identity for themselves, one which was also vis-a-vis the indigenous population. Both cultures were marked by a rural agrarian existence, a high degree of religiosity, and a high level of Church involvement in the state. Then both were conquered by the British and expected to conform to the English-speaking order. This double-layer of colonialism proved to be a significant contributing factor to the ethnic identity and consciousness of the Quebecois and the Afrikaners, as they perceived a threat to their language and their cultural institutions.
    [Show full text]
  • Domestic Terrorism in Africa
    DOMESTIC TERRORISM IN AFRICA: DOMESTIC TERRORISM IN AFRICA: DEFINING, ADDRESSING AND UNDERSTANDING ITS IMPACT ON HUMAN SECURITY DEFINING, ADDRESSING AND UNDERSTANDING ITS IMPACT ON HUMAN SECURITY Terrorism Studies & Research Program ISS Head Offi ce Block D, Brooklyn Court, VealVeale Street New Muckleneuk,, PrPretoria Tel: (27-12) 346 9500 Fax:Fa (27-12) 346 9570 E-mail: iss@[email protected] ISS AdAddis Ababa Offi ce FirsFirst Floor, Ki-Ab Building, Alexander Pushkin Street, Pushkin Square, Addis Ababa Tell:(: (251-1111)3) 37272-1154/5/6 Fax:(: (251-1111)3) 372 5954 E-mail: addisababa@is@ safrica.orgg ISS Cape Town Offi ce 67 Roeland Square, Drury Lane Gardens Cape Town 8001 South Africa TTel:(: (27-27 21) 46171 7211 Fax: (27-2121)4) 461 7213 E-mail: [email protected] ISS Nairobi Offi ce 5h5th Flloooor, LanddmarkPk Pllaza Argwings Kodhekek RRoad, Nairobi, Kenya Tel: (254 -20) 300 5726/8 FaxFax: (254-20) 271 2902 E-mail: [email protected] ISS Pretoria Offi ce Block C, Brooklyn Court, Veale Street New Muckleneuk, Pretoria Tel: (27-12) 346 9500 Fax: (27-12) 460 0998 Edited by Wafula Okumu and Anneli Botha E-mail: [email protected] Wafula Okumu and Anneli Botha www.issafrica.org 5 and 6 November 2007 This publication was made possible through funding provided by the ISBN 978-1-920114-80-0 Norwegian Government. In addition, general Institute funding is provided by the Governments of Denmark, the Netherlands, Norway and Sweden. 9 781920 114800 Terrorism Studies & Research Program As a leading African human security research institution, the Institute for Security Studies (ISS) works towards a stable and peaceful Africa characterised by sustainable development, human rights, the rule of law, democracy, collaborative security and gender mainstreaming.
    [Show full text]
  • Press & Industry Guide
    Toronto International Film Festival Sept 5–15, 2019 Press & Industry Guide Festival2019_P&I_Cover.indd 49 8/21/19 4:30 PM SEE BIGGER CANADIAN TALENT SHINES BRIGHT ON THE WORLD STAGE. TELEFILM CANADA IS PROUD TO SUPPORT AND PROMOTE HOMEGROWN SUCCESS. PROUD PARTNER OF THE TORONTO INTERNATIONAL FILM FESTIVAL® © Shayne Laverdière ®* TORONTO INTERNATIONAL FILM FESTIVAL INC. USED UNDER LICENSE TELEFILM.CA Untitled-1 1 8/21/19 3:09 PM Untitled-1 1 8/21/19 3:26 PM Performance worthy of a standing ovation. Stream your favourite movies and videos at incredible speeds anywhere you go on Canada’s best national network.1 Visit a Bell store • 1 888 4-MOBILE • bell.ca (1) Current as of June 1, 2019. Based on a third-party score (Global Wireless Solutions OneScore™) calculated using wireless network testing in Canada against other wireless networks of combined data, voice, reliability and network coverage. See bell.ca/network for details. Untitled-1 1 8/21/19 3:10 PM Contents Directors’ Welcome 3 Festival Village Map 4 Industry Centre Map 6 Press Office 11 FESTIVAL SCREENING INDUSTRY CONFERENCE SCHEDULE Industry Conference Overview 15 Thursday, September 5 38 Industry Conference Sessions 16 Friday, September 6 40 Industry Conference Schedule 26 Saturday, September 7 42 Press & Industry Venue Policies 33 Sunday, September 8 44 Festival Programmes & Programmers 35 Monday, September 9 46 How to Read the Schedule 37 Tuesday, September 10 48 Wednesday, September 11 50 Thursday, September 12 52 Friday, September 13 54 Saturday, September 14 56 Sunday, September 15 58 INDEX Index by Film Titles 61 Index by Country 67 01_TOC_P&I_2019.indd 1 8/21/19 3:01 PM IT 2 TORONTO LOVES FILM Made here.
    [Show full text]
  • An Abstract of the Thesis Of
    AN ABSTRACT OF THE THESIS OF Nicolas Evans for the degree of Master of Arts in English presented on June 2, 2017. Title: (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh. Abstract approved: ______________________________________________________ Neil R. Davison This thesis examines the postmodern confrontation of representation throughout the oeuvre of Martin McDonagh. I particularly look to his later body of work, which directly and self-reflexively confronts issues of artistic representation & masculinity, in order to gain a more nuanced understanding of his earliest and most controversial plays. In part, this thesis addresses misperceptions regarding The Leenane Trilogy, which was initially criticized for the plays’ shows of irreverence and use of caricature and cultural stereotypes. Rather than perpetuating propagandistic or offensive representations, my analysis explores how McDonagh uses affect and genre manipulation in order to parody artistic representation itself. Such a confrontation is meant to highlight the inadequacy of any representation to truly capture “authenticity.” Across his oeuvre, this postmodern proclivity is focused on disrupting the solidification of discourses of hyper-masculinity in the vein of postcolonial, diasporic, and mainstream media’s constructions of masculinity based on aggression and violence. ©Copyright by Nicolas Evans June 2, 2017 All Rights Reserved (Mis)representation & Postcolonial Masculinity: The Origins of Violence in the Plays and Films of Martin McDonagh by Nicolas Evans A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented June 2, 2017 Commencement June 2017 Master of Arts thesis of Nicolas Evans presented on June 2, 2017 APPROVED: Major Professor, representing English Director of the School of Writing, Literature, and Film Dean of the Graduate School I understand that my thesis will become part of the permanent collection of Oregon State University libraries.
    [Show full text]
  • Building Resilience Through Partnership
    BUILDING RESILIENCE THROUGH PARTNERSHIP 2019-2020 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS 9 ACHIEVEMENTS 11 ABOUT US 14 MESSAGES MANAGEMENT DISCUSSION 18 AND ANALYSIS INDUSTRY AND 19 ECONOMIC CONDITIONS CORPORATE 28 PLAN DELIVERY ATTRACT ADDITIONAL FUNDING 29 AND INVESTMENT EVOLVE OUR FUNDING 33 ALLOCATION APPROACH OPTIMIZE OUR 45 OPERATIONAL CAPABILITY ENHANCE THE VALUE 50 OF THE “CANADA” AND “TELEFILM” BRANDS 57 FINANCIAL REVIEW 64 RISK MANAGEMENT CORPORATE SOCIAL 66 RESPONSIBILITY 70 TALENT FUND 81 GOVERNANCE FINANCIAL 95 STATEMENTS ADDITIONAL 117 INFORMATION TELEFILM CANADA / 2019-2020 ANNUAL REPORT 1 The Canadian industry and audiences embraced female voices and HIGHLIGHTS Indigenous expression in fiscal year 2019-2020. Telefilm remained committed to greater representation in the films we support and to bringing Canadian creativity to the world. LOOKING TO THE FUTURE, our vision is for Telefilm and Canada to strengthen their role of Partner of Choice—creating and building ties, expanding opportunities and deepening impact. BRINGING CANADIAN CREATIVITY TO THE WORLD The Canada-Norway coproduction THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN, directed by KATHLEEN HEPBURN and ELLE-MÁIJÁ TAILFEATHERS, received praise around the world— premiering at the Berlin Film Festival in 2019, selected as “REMARKABLE” a New York Times Critic’s Pick and being called “remarkable” by the Los Angeles Times. The film went on to be picked up ★★★★★ by Ava DuVernay’s ARRAY releasing for U.S and international. levelFilm distributed the film in Canada, while Another World LOS ANGELES TIMES Entertainment handled Norway. TELEFILM CANADA / 2019-2020 ANNUAL REPORT 2 HIGHLIGHTS BRINGING CANADIAN CREATIVITY TO THE WORLD MONIA CHOKRI’s debut feature filmLA FEMME DE WINNER MON FRÈRE (A Brother’s Love), which she both wrote COUP DE CŒUR AWARD and directed, premiered at the Cannes Film Festival CANNES opening the Un Certain Regard section, bringing home FILM FESTIVAL the jury’s Coup de Cœur award.
    [Show full text]