The Quest for Regulating the Global Diamond Trade
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Blood Diamond 2006
Blood Diamond 2006 To an extent, Blood Diamond is a victim of its own length. While the film includes a number of disturbing political and sociological insights, the adventure story is tepid and loses momentum as the storyline bogs down. The main character, played by Leonardo DiCaprio, has an effective arc that is believable because it does not force him to act contrary to his nature, but it takes a long time for Blood Diamond to get us to DiCaprio's moment of recognition. Pacing issues aside, this is a well constructed movie - clearly the product of a director who understands how to make a top- notch motion picture. It looks great and sounds great. If only Edward Zwick's mastery of the medium had extended to pruning the screenplay and editing the final result, Blood Diamond might have been a tremendous film rather than one worthy of only a lukewarm recommendation. The story takes place in 1999 Sierra Leone, when the country is embroiled in a civil war. In this struggle, it's hard to determine which side is worse: the government or the rebels. As is often the case in this sort of bloodbath, atrocities abound and it's the innocent farmers and villagers caught in between who pay the price. Diamonds, one of the country's largest exportable commodities, are being smuggled out and purchased on the open market despite a supposed international ban on the purchase of so-called "conflict diamonds" or "blood diamonds." This historical background (which is more complicated as presented in the movie) is accurate, although the three primary characters embroiled in events are fictional. -
Blood Diamond
Blood Diamond Synopsis This story is about an ex-mercenary turned smuggler Danny Archer (Leonard DiCaprio) and a Mende fisherman Soloman Vandy (Djimon Hounsou). Amid the explosive civil war overtaking 1999 Sierra Leone, these men join for two desperate missions: recovering a rare pink diamond of immense value and rescuing the fisherman's son, conscripted as a child soldier into the brutal rebel forces ripping a swath of torture and bloodshed across the alternately beautiful and ravaged countryside. Introduction This resource is aimed at GCSE, AS, A2 and Highers students. The questions and points of discussion raised throughout this resource are connected to the official website for the film. Clip references refer to sequences that can be found on the official website: http://blooddiamondmovie.warnerbros.com/ In addition to the questions and discussion points raised, there is an existing Amnesty Resource (see link at the end of this document) developed to accompany the film and covers in-depth context and tasks. These materials combined touch on topics that teachers may find useful for Film and Media Studies, Citizenship, Politics and Business Studies. www.filmeducation.org 1 ©Film Education 2007. Film Education is not responsible for the content of external sites. Trailer Analysis How is the setting established? Think about the types of shots that are used. The structure of the trailer shows us the credentials of the director. What does this tell us about the film’s potential audience? How important is this to you as a cinemagoer? Does it affect your choice? The trailer is designed to establish a sense of the story for the widest potential audience. -
Making Defiance Where He Built a Trucking Business with His Wife Lilka, (Played in the Film by Alexa Davalos)
24 | Lexington’s Colonial Times Magazine MARCH | APRIL 2009 a book, and a book is not a movie. So it has to be different. I cannot put everything that comes from years of work into two hours.’” “Did you actually talk to Tuvia?” prompted Leon Tec. His wife introduced him to the audience as “The troublemaker, my husband.” After the war Tuvia Bielski moved first to Israel and then to New York, Making Defiance where he built a trucking business with his wife Lilka, (played in the film by Alexa Davalos). Nechama Tec had spoken with him by telephone while researching her book “In the Lion’s Den,” but all attempts to meet in person had been stymied by Lilka Bielski’s excuses. Finally, Tec secured a meeting at the Bielskis’ Brooklyn home in May 1987. She hired a driver for the two-hour drive from Westport, Conn., and was greeted by Lilka, who told her that Tuvia had had a bad night, was very sick, and could not see her as planned. Tec said that she was leaving for Israel the next day on a research trip, and was politely insistent. “I want to get a sense of the man before I go,” she told Lilka. “So we’re going back and forth on the doorstep and she doesn’t let me in, and we hear a voice from the other room, ‘Let her in,’” recalled Tec. Tuvia Bielski, clearly weak and very sick, came out to meet her, dismissed the hovering Lilka, and sat down with Tec and her tape recorder. -
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arcade II Annie Jones Little Miss Sunshine: Thi5. staff writer film's very talented en emble ca t won a SAG award for their col- It's that time of year again - エ ゥ ュ セ for Holly- lectively heartfelt performances. wood hunks and silver screen starlets to squeeze Two of its actors, Alan Arkin and into designer eveningwear and pile into limos to the adorable Abagail Brc lin, arc gather and congratulate them elves yet again at nominated for their supporting the pinnacle of the wards season - the Oscars. roles. Little Miss Sunshine, a semi- ety of characters ranging from Ryan Go ling's tum as Arguably the most important night of the year for comcdy, is the underdog, but an Oscar win would a drug-addicted middle school teacher in HalfNelson the film industry, the Academy Awards has come cement the hopeful message of the movie itself. to Hollywood veteran Peter O'Toole's performance to represent the glamour of movies and provides The Departed: This crime drama set in Boston as an aging actor in Venus. The oft- nubbcd Leonardo us common folk with an oppor- DiCaprio received a nod for his tunity to drool over and dream work in Blood Diamond, but not about our favorite stars, ju t m for The Departed, a wa widely case there wasn't enough celeb- expected. The frontrunner here, rity worship already. This year's however, is Fore. t Whitaker, who ceremony should prove to be an portrays a Ugandan dictator in The especially exciting one, thanks Last King ofScotland. -
Teaching Social Studies Through Film
Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students. -
Time to Rethink the Kimberley Process: the Zimbabwe Case - International Crisis Group
Time to Rethink the Kimberley Process: The Zimbabwe Case - International Crisis Group English Français Regions / Countries Browse by Publication Type Key Issues About Crisis Group Support Crisis Group ••••••• Other emailtwitter alerts Press Sitemap Text only RSS Login facebook Register Regions / Countries Homepage > Regions / Countries > Africa > Southern Africa > Zimbabwe > Time to Rethink the Kimberley Process: The Zimbabwe Case ● Africa ❍ Time to Rethink the Kimberley Process: The Zimbabwe Case Central Africa Thierry Vircoulon, On the African Peacebuilding Agenda | 4 Nov 2010 ❍ Horn of Africa On 11-12 September 2010, Zimbabwe auctioned diamonds from the controversial Marange mines. There was ❍ Southern Africa little international condemnation, especially compared to the controversy over the first sale of Marange diamonds in August. Since an export ban was imposed on diamonds from Marangein November 2009, the Kimberley ■ Angola Process (KP)[1] has permitted Zimbabwe to hold two auctions, although the country has not been able to guarantee that widespread human rights violations in the mines and smuggling have stopped. Criticised by both ■ Madagascar those who favour and those who oppose the ban, this unusual compromise demonstrates that the KP’s narrow ■ Zimbabwe definition of conflict diamonds is inadequate, and that the body must expand its authority if it is not to loose its credibility and legitimacy as the diamond-trade watchdog. ❍ West Africa A. Zimbabwe: Still Trying for Democracy Zimbabwe, a landlocked country of some 12.5 million inhabitants, is stuck in a decade-long political crisis and ● Asia struggling to move from dictatorship to democracy. For 28 years from independence in 1980, Robert Mugabe ● Europe ruled uninterrupted. -
The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price
University of Minnesota Law School Scholarship Repository Minnesota Journal of International Law 2003 The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price Follow this and additional works at: https://scholarship.law.umn.edu/mjil Part of the Law Commons Recommended Citation Price, Tracey Michelle, "The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate" (2003). Minnesota Journal of International Law. 115. https://scholarship.law.umn.edu/mjil/115 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Journal of International Law collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. Articles The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price" "Diamondsare forever, it is often said. But lives are not. We must spare people the ordeal of war, mutilations and death for the sake of conflict diamonds."' INTRODUCTION At the hands of rebels, dictators, and terrorists, diamonds have crystallized into a source of financing for conflict and civil wars, which have caused the deaths of more than two million people.2 These "conflict" diamonds have additionally threatened to tarnish the legitimate diamond trade by associating dia- monds with hardened brutality. The international community has attempted to curb the trade of conflict diamonds and pro- mote peace and stability in Angola, the Mano River Union states,3 and the Great Lakes region 4 of Africa. In the last two * LL.M. Candidate, Georgetown University Law Center; J.D., 1997, University of Baltimore School of Law; B.A., University of Georgia. -
Produced with the Participation of Blue Ice Docs
Cinephil presents An Ink & Pepper / Big World Cinema / Appian Way production In Association with Gabriel Films Produced with the participation of Blue Ice Docs A film by Anjali Nayar World Premiere at 80 minutes English, Liberian English • • Canada/South Africa/Kenya 2017 • Contacts at TIFF: Producer: Producer: Steven Markovitz Anjali Nayar Big World Cinema Ink & Pepper Productions E: [email protected] E: T: +27 83 2611 044 T: +1- 415-910-4625 Sales Agent: Publicist: Philippa Kowarsky Charlene Coy Cinephil C2C Communications E: [email protected] E: [email protected] T: +972 3 566 4129 T: +1-416-451-1471 Tagline: No more business as usual Logline With a network of dedicated citizen reporters by his side, seasoned Liberian activist Silas Siakor challenges the corrupt and nepotistic status quo in his fight for local communities. Synopsis Liberian activist, Silas Siakor is a tireless crusader, fighting to crush corruption and environmental destruction in the country he loves. Through the focus on one country, Silas is a global tale that -
The Blood Diamond
1 The Blood Diamond The Story, Function of The Music, Tendencies Kodjo D. Attivor THESIS – Summer 2014 Advisor: Lucio Godoy Scoring for Film, Television, and Video Games Berklee College of Music 2 Table of Content Introduction 3 Synopsis 4 The Composer 6 Function of the music 7 Cue List 11 Source Music 13 Repetition – Music Editing 14 Final Thought 15 References 16 Transcription See Attachment 3 Introduction In the field of movie production, film scoring is essential; it helps reveal the film genre as the music sets the mood of the plot. Music: Science and art, functions as an emotion enhancer. It helps illustrate movements, create atmosphere, produce a sense of space, fictitious imaginations, creates a perception of time, and cleverly controls the viewer’s perception. It has been proven that soundtracks control the emotions of the viewer as it does in the “Blood Diamond.” Obviously, the music sets the geographic and cultural references for the “Blood diamond film.” The “Blood Diamond” is an adventure and drama film that relates the true story of the Sierra Leone genocide were the people fought and killed fiercely in a political war that generated into one of the most controversial tribal war around a stone called “Diamond.” The music enhanced the story and the physiological consequences of the images even though the music has not been pronounced at all times. Successfully, the composer wrote all original themes and some of the source music for the movie. The approach of the hybrid orchestration confirmed the composer’s skills and professionalism as the production techniques enhanced its function. -
June 14, 2018 the Honorable Bob Goodlatte, Chairman The
June 14, 2018 The Honorable Bob Goodlatte, Chairman The Honorable Jerry Nadler, Ranking Member House Committee on the Judiciary 2138 Rayburn House Office Building Washington, D.C. 20515 The Honorable Greg Walden, Chairman The Honorable Joe Barton, Vice Chairman The Honorable Frank Pallone, Ranking Member House Energy and Commerce Committee 2125 Rayburn House Office Building Washington, D.C. 20515 Dear Chairmen, Vice Chairman, and Ranking Members: We, the undersigned, are creatives who make our living in the entertainment industries. Whether we work in film, television, publishing, music, or photography, we and our colleagues have all been affected by the rampant, illicit activity that occurs on the major internet platforms, including Google and Facebook. There has been growing concern in Washington, in the press, and among Americans about the lack of responsibility exercised by the major internet platforms toward harmful and illegal activity taking place on their services. For decades, online gatekeepers like Facebook and Google have turned a blind eye to the proliferation of widespread societal harms on their platforms. From sex trafficking to foreign influence over our elections, from privacy to piracy, it has become increasingly clear that more needs to be done to ensure platform responsibility. In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a “big mistake.” But whether the lack of responsibility was a “mistake” or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat these companies differently than other industries and actually absolve internet platforms of responsibility. -
Hollywood's Africa After 1994
HOLLYWOOD’S AFRICA AFTER 1994 EDITED BY MARYELLEN HIGGINS Ohio University Press • Athens CONTENTS Introduction: African Blood, Hollywood’s Diamonds? Hollywood’s Africa after 1994 MARYELLEN HIGGINS 1 1 The Cited and the Uncited: Toward an Emancipatory Reading of Representations of Africa HARRY GARUBA AND NATASHA HIMMELMAN 15 2 The Troubled Terrain of Human Rights Films: Blood Diamond, The Last King of Scotland, and The Devil Came on Horseback MARGARET R. HIGONNET, WITH ETHEL R. HIGONNET 35 3 Hollywood’s Representations of Human Rights: The Case of Terry George’s Hotel Rwanda JOYCE B. ASHUNTANTANG 54 4 Hollywood’s Cowboy Humanitarianism in Black Hawk Down and Tears of the Sun MARYELLEN HIGGINS 68 5 Again, the Darkness: Shake Hands with the Devil KENNETH W. HARROW 83 6 Ambiguities and Paradoxes: Framing Northern Intervention in The Constant Gardener CHRISTOPHER ODHIAMBO JOSEPH 96 7 Minstrelsy and Mythic Appetites: The Last King of Scotland’s Heart of Darkness in the Jubilee Year of African Independence RICARDO GUTHRIE 110 8 “An Image of Africa”: Representations of Modern Colonialism in Africa in Peter Jackson’s King Kong CLIFFORD T. MANLOVE 125 9 Plus Ça Change, Plus C’est la Même Chose: Hollywood’s Constructions of Africa in Lord of War EARL CONTEH-MORGAN 143 10 New Jack African Cinema: Dangerous Ground; Cry, the Beloved Country; and Blood Diamond BENNETTA JULES-ROSETTE, J.R. OSBORN, AND LEA MARIE RUIZ-ADE 157 11 “It Is a Very Rough Game, Almost as Rough as Politics”: Rugby as Visual Metaphor and the Future of the New South Africa in Invictus -
Diamonds and Clubs A.Indd
ZIMBABWE DIAMONDS AND CLUBS The Militarized Control of Diamonds and Power in Zimbabwe PartnershiP africa canada June 2010 Cahora Bassa 27 28 Lusaka 29 30 31 32 33 34 ° ° ° Luangw° a Zumbo ° ° Dam ° ° Kafue bezi Z Kafue am Kanyemba Cahora am ZIMBABWE Z b Mazabuka Albufeira de Bassa è Namwala z Cahora Bassa e 16° Chirundu 16° Monze Makuti i Tete n MOZAMBIQUE a Kariba y Muzarabani ZAMBIA n Kariba Dam u H MASHONALAND LakeKariba Centenary Mount Darwin Mulobezi Choma Karoi Mhangura Changara S e a o n CENTRAL z Z Siyakobvu y a 17 a a MASHONALAND 17 ° M ° m Kalomo ti Zave Bindura b WEST Kildonan Shamva e Masuku z Siabuwa Mutoko i Sesheke Maamba Glendale Chinhoyi ST A Kazungula Binga E Lake Harare D NAMIBIA Livingstone Manyame N be Kasane ro A ho Victoria ve L 18 i C M L. Chi 18 °nt Falls Victoria Falls Gokwe u Chitungwiza A Marondera Catandica ° ya ny N Nyanga in Matetsi a Chegutu L Kachikau ti O G Kamativi w Sengwa H a Kadoma S Hwange yi Dahlia Rusape Pandamatenga (Gwayi River) A Hwedza Dete M Nyazura i Sh z anga d ni S O a Lupane Kwekwe v Manica Redcliff Chivhu e 19° MIDLANDS Mutare 19° MATABELELAND Mvuma Chimoio MANICALAND Lago R Eastnor Gweru Chicamba io NORTH R Hot Springs evu G Inyati Shurugwi M è BO TSWAN A w u Gutu a t i y R r i i Chimanimani u k Nata n w Glenclova d i Dombé Bulawayo e 20 Birchenough i 20 ° Masvingo Chipinge z ° Esigodini Lake Bridge u Nata Zvishavane B Mutirikwi Rio e Plumtree v a Espungabera S National capital Mosetse MASVINGO Provincial capital Makgadikgadi Pan Antelope Gwanda Town, village Mine Nandi Mill 21° Triangle Major airport S h West Nicholson Chiredzi Francistown a International boundary s R h Rutenga u e MATABELELAND Mbizi n Provincial boundary U d m e E z Makado U ZIMBABWE Main road SOUTH in Q g I w M B a a Secondary road n n M i Thuli i s A Railroad i Z 22 O ° Selebi-Pikwe Beitbridge M 22° 0 50 100 150 km mpopo Malvernia Messina Li o The boundaries and names shown and the designations op 0 50 100 mi Limp used on this map do not imply official endorsement or S O U T H AFRICA acceptance by the United Nations.