Syrian-Saudi relations have been a paradox in inter-Arab politics during the oil era. Commentators and analysts have questioned why the two states pursued mutually conflicting aims in almost every major regional or international foreign policy issue and often propagated contrasting ideological banners over the past thirty years; while both acting as though some form of an alignment existed between them? Here, Sonoko Sunayama explores the logic behind the paradoxical longevity of this cooperative relationship and argues that what ultimately makes Saudis and Syrians so indispensable to each other is the perception and the historical appeal of 'shared identities', be they Arabism or Islam.
This cutting-edge edited collection brings together 17 scholarly essays on two of cinema and television’s most enduring and powerful themes: law and crime. With contributions by many of the most prominent scholars in law, sociology, criminology, and film, Framing Law and Crime offers a critical survey of a variety of genres and media, integrating descriptions of technique with critical analysis, and incorporating historical and socio-political critique. The first set of essays brings together accounts of the history of the Law and Cinema Movement; the groundbreaking genre of “post-apocalyptic fiction;” and the policy-setting genesis of a Canadian documentary. The second section of the book turns to the examination of a range of international or global films, with an eye to assessing the strengths, frailties, and possible functions of law, as depicted in fictional cinema. After an international focus in the second section, the third section focuses on law and crime in American film and television, inclusive of both fictional and documentary modes of narration. This section’s expansion beyond film narratives to include television series attempts to broaden the scope of the edited collection, in terms of media discussed; it is also a nod to how the big screen, although still a dominant force in American popular culture, now has to compete, to some extent, with the small screen, for influence over the collective American popular cultural imaginary. The fourth section, titled brings together various chapters that attempt to instantiate how a “Gothic Criminology” could be useful, as an interpretative framework in analyzing depictions of law and crime in film and television. The fifth and final section covers issues of pedagogy, epistemology, and ethics in relation to moving images of law and crime. Merging wide-ranging analyses with nuanced scholarly interpretations, Framing Law and Crime examines key concepts and showcases original research reflecting the latest interdisciplinary trends in the scholarship of the moving image. It addresses, not only scholars, but also fans, and will heighten the appreciation of connoisseurs and newcomers to these topics alike.
International Relations scholarship posits that legitimacy, authority and violence are attributes of states. However, groups like Hizballah clearly challenge this framing of global politics through its continued ability to exercise violence in the regional arena. Surveying the different and sometimes conflicting interpretations of state-society relations in Lebanon, this book presents a lucid examination of the socio-political conditions that gave rise to the Lebanese movement Hizballah from 1982 until the present. Framing and analysing Hizballah through the perspective of the 'resistance society'; an articulation of identity politics that informs the violent and non-violent political strategies of the movement, Abboud and Muller demonstrate how Hizballah poses a challenge to the Lebanese state through its acquisition and exercise of private authority, and the implications this has for other Lebanese political actors. An essential insight into the complexities of the workings of Hizballah, this book broadens our understanding of how legitimacy, authority and violence can be acquired and exercised outside the structure of the sovereign nation-state. An invaluable resource for scholars working in the fields of Critical Comparative Politics and International Relations.
The term “network” is now applied to everything from the Internet to terrorist-cell systems. But the word’s ubiquity has also made it a cliché, a concept at once recognizable yet hard to explain. Network Aesthetics, in exploring how popular culture mediates our experience with interconnected life, reveals the network’s role as a way for people to construct and manage their world—and their view of themselves. Each chapter considers how popular media and artistic forms make sense of decentralized network metaphors and infrastructures. Patrick Jagoda first examines narratives from the 1990s and 2000s, including the novel Underworld, the film Syriana, and the television series The Wire, all of which play with network forms to promote reflection on domestic crisis and imperial decline in contemporary America. Jagoda then looks at digital media that are interactive, nonlinear, and dependent on connected audiences to show how recent approaches, such as those in the videogame Journey, open up space for participatory and improvisational thought. Contributing to fields as diverse as literary criticism, digital studies, media theory, and American studies, Network Aesthetics brilliantly demonstrates that, in today’s world, networks are something that can not only be known, but also felt, inhabited, and, crucially, transformed.
Katharina Nötzold explores whether and how mass media can contribute to nation-building after civil war. Drawing on the example of Lebanon’s audiovisual media organisations, which are mostly privately owned by politicians, she demonstrates how political elites use television to transmit their visions of post-war society. Lebanon’s nation-building process from 1990 to 2005 was characterized by Syrian dominance over political life. From an extensive content analysis of Lebanese news and interviews with analysts, journalists and managers from all Lebanese TV stations, it emerges that political information on television focused more on divisive experiences than cohesive ones. This has underpinned continued sectarianism in Lebanon, in the media as in society at large, and has impeded nationbuilding.
Sociology Through Film uses feature films to teach central areas in sociology such as culture, race/ethnicity, social class, and gender/sexuality. By using Film to introduce the sociological imagination, students will 'experience' social context being studied, and reinforce critical thinking skills. An introductory chapter includes a discussion of the significance of film in modern society, a consideration of the ways that film both reflects and shapes social reality, an explanation of how sociologists analyze film, and coverage of sociological tools for 'reading' film as text. Films will provide an illustrative framework for understanding the social world, and therefore the films discussed will not go 'out of date'.
This book explores the body and the production process of popular culture in, and on, the Middle East and North Africa, Turkey, and Iran in the first decade of the 21st century, and up to the current historical moment. Essays consider gender, racial, political, and cultural issues in film, cartoons, music, dance, photo-tattoos, graphic novels, fiction, and advertisements. Contributors to the volume span an array of specializations ranging across literary, postcolonial, gender, media, and Middle Eastern studies and contextualize their views within a larger historical and political moment, analyzing the emergence of a popular expression in the Middle East and North Africa region in recent years, and drawing conclusions pertaining to the direction of popular culture within a geopolitical context. The importance of this book lies in presenting a fresh perspective on popular culture, combining media that are not often combined and offering a topical examination of recent popular production, aiming to counter stereotypical representations of Islamophobia and otherness by bringing together the perspectives of scholars from different cultural backgrounds and disciplines. The collection shows that popular culture can effect changes and alter perceptions and stereotypes, constituting an area where people of different ethnicities, genders, and orientations can find common grounds for expression and connection.
This paper deals with the complexities of crude oil geopolitics in the wake of recent escalating tensions between OPEC led by Saudi Arabia and OPEC plus members led by Russia. The paper traces the story of the Syrianic Dreams of global super powers in the Middle East and in the surrounds of the Caspian Sea prior to 1950s and afterwards. The paper proceeds to analyse the looming threat to the architecture of crude oil geopolitics in recent years caused by the decisive emergence of the US as the world's largest oil producer since 2014 - a development that was entirely driven by galloping shale oil production in the country. It is argued that the shale oil shock has threatened the future of the OPEC and that of larger coalition bodies like OPEC+, that are led by Saudi Arabia and Russia respectively. As the world braces itself for a new oil price war in 2020, we take a look at what possible geopolitical configurations that could emerge from these extraordinary circumstances and the strategic elements surrounding crude oil pricing in the world. We also study the threat to the time tested instrument of petrodollars in the wake of increasing efforts to de-dollarize crude oil transactions through digital currency alternatives like the petro-yuan.
Steven Spielberg is known as the most powerful man in New Hollywood and a pioneer of the contemporary blockbuster, America’s most successful export. His career began a new chapter in mass culture. At the same time, American post war liberalism was breaking down. This fascinating new book explains the complex relationship between film and politics through the prism of an iconic filmmaker. Spielberg’s early films were a triumphant emergence of the Sunbelt aesthetic that valued visceral kicks and basic emotions over the ambiguities of history. Such blockbusters have inspired much debate about their negative effect on politics and have been charged as being an expression of the corporatization of life. Here Frederick Wasser argues that the older Spielberg has not fully gone this way, suggesting that the filmmaker recycles the populist vision of older Hollywood because he sincerely believes in both big time moviemaking and liberal democracy. Nonetheless, his stories are burdened by his generation’s hostility to public life, and the book shows how he uses filmmaking tricks to keep his audience with him and to smooth over the ideological contradictions. His audiences have become more global, as his films engage history. This fresh and provocative take on Spielberg in the context of globalization, rampant market capitalism and the hardening socio-political landscape of the United States will be fascinating reading for students of film and for anyone interested in contemporary America and its culture.
Los Angeles magazine is a regional magazine of national stature. Our combination of award-winning feature writing, investigative reporting, service journalism, and design covers the people, lifestyle, culture, entertainment, fashion, art and architecture, and news that define Southern California. Started in the spring of 1961, Los Angeles magazine has been addressing the needs and interests of our region for 48 years. The magazine continues to be the definitive resource for an affluent population that is intensely interested in a lifestyle that is uniquely Southern Californian.
Publisher: Strategic Book Publishing & Rights Agency
“Laila was raped, beaten and abused. May the Lord excuse my silence, my timidity, and my delayed protection of her innocence, but let my portrayal of her ordeal serve to lessen the burden of guilt, which I have carried long enough. I was her nanny. I suffered with her – and perhaps more – for unlike this little girl, I knew I could save her and there could be a way to end her ordeal. Why did it take me so long to take her to safety? This remains an obstacle to my peace of mind. It is a reminder that we all sometimes succumb to the devil when it is in our interests to keep silent.”