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New forms of cultural expression
Contents:
  1. The Decline of Sentiment: American Film in the 1920s
  2. VTLS Chameleon iPortal Communication Error Occurred.
  3. The Decline of Sentiment: American Film in the 1920s
  4. A Probusiness Orientation and Scandals in Washington

It must reverse course and embrace a smarter, less draining brand of power guided by a compelling and coherent conception of national interest.


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  • The Decline of Sentiment: American Film in the s by Lea Jacobs?
  • Jacobs, Lea – Department of Communication Arts – UW–Madison.
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A steady stream of revelations followed each subsequent disclosure, but after numerous attacks on the WikiLeaks site, and the publication of passcodes and decryption keys to the material that in principle made all of the unredacted cables available online, WikiLeaks took the decision to release the full tranche of , cables on 1 September Cables discussing cinema were sent from most major industrialized countries, to varying degrees. Cables from the Middle East and Australasia tended to focus on more cultural concerns and were less frequent than the cables originating from South America and Europe, where economic issues, mainly regarding intellectual property rights IPR , appeared to be more pressing.

By far the greatest concentration of cables originated from Canada, which was roughly equally divided into cultural and economic matters. The close proximity of Canada to the United States is one obvious reason as to why there was a greater number from this region, but the content also suggests that this focus on Canada was as much to do with the American belief that IPR violations were especially prevalent there. Much of the material is of a mundane, prosaic nature, related to simple discussions of rumors relating to local film censorship, through to gossip about discussions with various foreign dignitaries and their cinematic tastes.

De Grazia, : The cables show that this approach was adopted widely across China. For example, the Shanghai consulate showed American films to university audiences across the country, followed by a discussion by an embassy official about American society and politics WikiLeaks, 22 June 09SHANGHAI , and met with students at Nanjing University to discuss the release of Nanjing! Of course, these cultural programs have always been a consistent feature of embassy activity, but what is interesting from the WikiLeaks cables is how often this activity was framed as a response to anti-American sentiment, which the embassies, acting on instructions from the State Department, were eager to dispel.

One region that was perceived to be especially anti-American was Canada, and the extant cables depict a tense, fractious association between the two countries, and a Canadian government that sought to enhance the protection of its culture rather than erode it.

The Decline of Sentiment: American Film in the 1920s

However, the story told in the cables is one of increased antipathy toward the United States and a strengthening of protectionist measures over the remainder of the decade. The cable, signed by Ambassador David Wilkins, suggested that. As the decade developed, interventions also began to take the form of support for the expansion of Hollywood production and distribution into markets that had strategic international significance, such as Bulgaria. Dating from the s, Boyana had been responsible for about 25 Bulgarian features per year, although after struggling in the early s it became focused on servicing national television productions Iordanova, : In addition, The American film company Nu Image had located the majority of its productions there since , all of which had created a number of jobs for Bulgarians and provided a boost to the local economy.

Nu Image won the process with a bid of 6. Others questioned the criteria for the bidding process, arguing that the requirement to have produced over films favored companies like Nu Image, precisely because it had made such a large number of films at low cost Roth, However, what these individuals did not know was that a series of cables from the Sofia embassy pointed to the close involvement of official US representatives throughout the procedure, mounting sustained pressure to ensure that Nu Image was successful. After the election of Barack Obama in , there was a subtle, but distinct change in the nature of the correspondence between the embassies and the US State Department.

Likewise, cables from Riyadh, Saudi Arabia, depict a country that was gradually becoming more receptive to an increase in the number of American programmes that were beginning to feature on Saudi TV networks, and the cultural changes that were perceived to be resulting from this. Saudis … are fascinated by US culture in a way they never were before. It is clear from the Riyadh cables that the embassy believed that market forces were leading to a gradual penetration of American culture into the public consciousness, if this at present only manifested in changes in the way that some people dressed, rather than any hard evidence that suggested a wider change in attitude or customs.

However, the cables also speak of the nature of American power in the early 21st century. But what is most striking about American power in the 21st century is that its expression is increasingly clandestine. On the contrary, the activities depicted by the tranche of Wikileaks documents reveals an approach that was in essence clandestine, conducted by embassies away from the public gaze. It is the role of future papers to investigate how some of the issues identified by the WikiLeaks releases have developed since , and how the new dimension to American power that they suggest can be theorized further.

However, in a decade in which American values and interests appear to be under even greater threat, it is likely that the actions documented in the extant WikiLeaks cables have become even more prevalent. The first payment to Britain as part of the Marshall plan was made in April Skip to main content. Article Menu.

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Recommend to a friend. Sharing links are not available for this article. I have read and accept the terms and conditions. Story is juvenile and silly, but the sort of silliness the more youthful fans gobble by the carload.

http://margun.savviihq.com/como-conseguir-citas-por-internet.php Lea Jacobs has written an important book for film scholars, students and others whose needs will be fulfilled by her exhaustive research and deep knowledge of the subject. But for the average reader who wants to learn about the topic and who desires to be entranced by vivid, illuminating writing and a style that propels him or her into the next chapter, the book will be a disappointment. Griffith does not seem to know the meaning of restraint. Many of his best scenes lose force because they are too intense, too long continued, too often repeated or too explicitly described in words and pictures.

In her zeal to be thorough, Jacobs commits similar errors.

The Decline of Sentiment: American Film in the 1920s

A healthy abundance of citations of trade press reviews of the films she discusses quickly becomes an embarrassment of riches. Even some of the epigraphs at the top of her chapters go on too long. But the real disappointment in The Decline of Sentiment is that we rarely get to hear from Jacobs herself, so immersed is she and the reader in the words of others. The ones she uses successfully reinforce her argument. More would have served her purpose well. This American people gulp their screen and stage sensations like straight redeye.

This picture is so big hearted and simple, so fine and sure in its handling of people and laying the blame on nobody, that there will be some moviegoers a little mixed up about it; they are those who want either straight melodrama or straight comedy. And is sentiment such a bad thing after all? Maybe she will let us hear more of it one day. Click here to order this book directly from.

Home Book Reviews. Jacobs writes: the taste for naturalism encompassed both a rejection of morality as a key component of literary judgment and a rejection of those literary works that had the cock-eyed optimism to posit a morally comprehensible universe. In her groundbreaking book from , From Reverence to Rape: The Treatment of Women in the Movies , she writes: She [Garbo] cast a wider net [than Marlene Dietrich] , catered to no specific sexual tastes, not even masculine or feminine, whereas Dietrich catered specifically to both but not to all tastes.

A Probusiness Orientation and Scandals in Washington

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