To see the other types of publications on this topic, follow the link: Political thrillers.
Journal articles on the topic 'Political thrillers'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Political thrillers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (December 1, 2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.
Full textAbstract:
Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
2
Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
Full textAbstract:
The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
3
Willems, Brian Daniel. "Thrilling Objects: The Scales of Corruption in Political Thrillers." Film-Philosophy 21, no. 1 (February 2017): 78–94. http://dx.doi.org/10.3366/film.2017.0032.
Full textAbstract:
Political thrillers often encourage the feeling that a mere individual has the power to make a difference on a large scale. Caught up in a chain of events they wished they had never uncovered, a protagonist can occupy a position in which their actions have far-reaching consequences, with the rookie CIA analyst accidentally bringing down a whole corrupt political system being only one example. Much of the critical attention these films have garnered falls under the rubric of detective work in that the protagonist is seen as exposing a web of corruption which would otherwise have gone on unnoticed. However, this paper is focused on how the scale of the individual comes into contact with other, larger scales of events. Points of contact between scales are important because they are where change can take place, thus allowing an individual to influence the supra-individual.
4
Homberger, Eric. "‘Uncle Max’ and his Thrillers." Intelligence and National Security 3, no. 2 (April 1988): 312–21. http://dx.doi.org/10.1080/02684528808431947.
Full text
5
Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Actiоn movies and fiction (Part II)." Post-Soviet Issues 10, no. 3 (November 24, 2023): 290–309. http://dx.doi.org/10.24975/2313-8920-2023-10-3-290-309.
Full textAbstract:
The article examines Arctic thrillers, action films and fantasy films. Presented kaleidoscope of horror, drama, thriller, science fiction and action films, with all its plot differences, is united by almost a single location, the Arctic north. Against his background, all maginable and unimaginable events occur. It enhances or weakens the role of what is happening with its whiteness, making the viewer’s screen even whiter. This is an artistic space in which characters are placed and actions, are performed. The silence of the Arctic is its action. The films reviewed are extremely different, responding to the spirit of the time when they were filmed. Their placement about genres is conditional since they all have a cinematic hybridity. Each tape combines all kinds of genres under consideration. We tried to correlate a number of films with temporary political-social processes.
6
Homberger, Eric. "English spy thrillers in the age of appeasement." Intelligence and National Security 5, no. 4 (October 1990): 80–91. http://dx.doi.org/10.1080/02684529008432080.
Full text
7
Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Action movies and fiction (Part I)." Post-Soviet Issues 10, no. 2 (September 5, 2023): 185–210. http://dx.doi.org/10.24975/2313-8920-2023-10-2-185-210.
Full textAbstract:
The article considers a number of genres of Arctic films in the world cinema. Among them, some of the most common are horror films (horror), thrillers (part I), dramas, science fiction and action films (part II). The socio-political climate of the times determined the evolution of genres and influenced their semantic content and structure. Their formation and production flow has a calendar milestone. In the second half of the twentieth century, after the end of the Great Patriotic War, a cold war began between two blocs of states with different socio-economic systems led by the USSR and the USA. It was she who strengthened the militaristic role of the Arctic not only in the military-industrial sphere, but also in the cinematographic one. Hollywood, as part of the political and ideological machine of the United States, immediately responded with its films. The screen was politicized in the general range of Cold War sentiments. Conducting atomic tests, the appearance of the atomic bomb in the USA in 1945 and in the USSR in 1949, “flying saucers” from space, noted in 1947, brought to life horror films, science fiction and drama. The heroes of the films were monsters that descended to earth from outer space or rose from the depths of the ocean, all kinds of mechanical and biological monsters awakened by nuclear tests. In parallel, western cinema constructed models of anti-Soviet orientation. The purpose of the films was to amuse and captivate the viewer into an illusory world and at the same time, to shock, amaze, terrify and excite him with scientific or pseudoscientific fiction. This goal remains the main one for most fantastic horror and thrillers. Some of them preached violence, cruelty, conflict, degradation of the human personality. Aggressiveness, programmed in the person himself, is increasingly, manifested in Arctic thrillers and action film.
8
Szewczyk, Grażyna Barbara. "Rzeczywistość i fikcja. Postacie Polaków i Niemców w prozie Magdaleny Parys." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 236–48. http://dx.doi.org/10.24917/20811853.22.15.
Full textAbstract:
The article presents the Trylogia Berlińska [The Berlin Trilogy] by Magdalena Parys, a Polish writer living in Berlin. The series consists of three thrillers (Tunel, 2011; Magik, 2014; Biała Rika, 2016 [Tunnel, Magician, White Rika]) which critics have described as „political thrillers”. In the multi-threaded plots, set both in the contemporary and historical realities (World War II and the immediate post-war period), Polish émigrés, rooted in the Berlin’s metropolitan area, without complexes and pursuing their professional goals play a special role. The Poles include representatives of the middle generation – Germans of Polish descent, policemen, photographers, journalists who investigate vicious and unsolved murder cases. The confrontation of characters of Polish descent with their German peers, whose parents and grandparents live with the trauma of expulsion or of being a victim of Stasi surveillance, makes the reader think about the memory and the problem of German-Polish relations in the 21st century.
9
Connolly, Andrew. "Masculinity, Political Action, and Spiritual Warfare in the Fictional Ministry of Frank E. Peretti." Christianity & Literature 69, no. 1 (March 2020): 53–72. http://dx.doi.org/10.1353/chy.2020.0003.
Full textAbstract:
Abstract: Like many evangelical authors, Frank E. Peretti claims that his writing is a ministry. While critics and reviewers have noted the way he popularized supernatural thrillers in the evangelical market and enjoyed unprecedented financial success for an evangelical author, they fail to recognize that the specific kind of ministry that Peretti engages in through fiction is new in three key ways: it is masculine, it is political, and it is sectarian. As a result, this paper argues that Peretti is responsible for changing the relationship between fiction authors and their audience within the evangelical market.
10
Ihentuge, Chisimdi Udoka. "Changing with changing times: A peep into Nollywood physical film markets in the era of online marketing." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 2 (March 7, 2024): 147–60. http://dx.doi.org/10.4314/ntj.v23i2.4.
Full textAbstract:
At the early stages of Nollywood (the film industry in Nigeria), names of physical film markets were regular in thrillers and posters of films. These include the markets at Upper Iweka Onitsha, Alaba International Lagos, Idumota Lagos, Pound Road Aba and Milverton Avenue Aba. These markets handled the general marketing of the industry. In the present day Nollywood, most of the marketing in the industry are done online. Yet, the names of these physical markets still suffice on the thrillers and posters of Nollywood films. This paper attempts to take a look at the state of the physical film markets in Nigeria in contemporary times. The markets surveyed are the film markets in Electro-Mart Market Onitsha Anambra State (which is a re-location of the market at Upper Iweka Onitsha), Alaba International Market and Idumota Market both in Lagos, and Pound Road and Milverton Avenue both in Aba Abia State. The work is approached through documentary research, observation and interview sessions with the marketers in, and leaders of the markets. It is concluded that despite the fact that activities have grossly dwindled in these physical film markets, they are still very relevant to Nollywood for some other vital functions they perform for the industry. What is missing in these markets is the suitable political environment for the industry. The paper recommends the provision of the enabling economic, natural and, most importantly, political environment for the industry to thrive better in this highly digital era.
11
van Teeffelen, Toine. "Scripts and Projects as Modes of Understanding Political Actions: The Representation of Palestinians in Bestselling Literature." Journal of Narrative and Life History 2, no. 2 (January 1, 1992): 163–82. http://dx.doi.org/10.1075/jnlh.2.2.05scr.
Full textAbstract:
Abstract This article analyzes the representation of Palestinian actions in Western bestsell-ing thrillers. Most of these actions can be understood through the application of scripts—cognitive structures of stereotypical action sequences. It is argued that the scriptal representations activate causal schemas of Palestinians and Arabs at both a psychological and a social level. The concept of script is set against that of project, characterized by a narrative understanding. It is shown how the need to make a story interesting and thus not completely stereotypical is met by, among others, the amplification of aspects of threatening scripts, and by a tension producing ambivalence toward Palestinian nationalism. In almost all cases a scriptal understanding remains privileged. (Qualitative Psychology, Cultural Studies)
12
Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.
Full textAbstract:
This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.
13
Martinelli, Dario. "CREATIVITY AND VISUALITY OF CLOSED SPACES: THE CASE OF ETTORE SCOLA." Creativity Studies 15, no. 2 (April 22, 2022): 376–88. http://dx.doi.org/10.3846/cs.2022.15539.
Full textAbstract:
The article seeks to discuss a particular stylistic tendency, within audiovisuality, to contextualize narration and themes within closed (and often small) places – a tendency which has been given the name of claustrophilia. While particularly suitable to genres like horrors and thrillers, where the closed space often takes sinister and threatening connotations, claustrophilia may also appear in a more positive light, as a metaphor of shelter and safety, and has been in fact represented in all kind of ways. Within this picture, and throughout all its history, Italian cinema has often shown a remarkable attention for claustrophiliac representations. As a consequence, the focus of the article will be the director Ettore Scola, a figure specialized in this approach, and particularly the case study of his 1977 release A Special Day (in Italian: Una giornata particolare), one of his most celebrated works, and a well-known one at international level, due also to its Academy Awards candidature and Golden Globe Awards win.
14
Martinelli, Dario. "CREATIVITY AND VISUALITY OF CLOSED SPACES: THE CASE OF ETTORE SCOLA." Creativity Studies 15, no. 2 (April 22, 2022): 376–88. http://dx.doi.org/10.3846/cs.2022.15539.
Full textAbstract:
The article seeks to discuss a particular stylistic tendency, within audiovisuality, to contextualize narration and themes within closed (and often small) places – a tendency which has been given the name of claustrophilia. While particularly suitable to genres like horrors and thrillers, where the closed space often takes sinister and threatening connotations, claustrophilia may also appear in a more positive light, as a metaphor of shelter and safety, and has been in fact represented in all kind of ways. Within this picture, and throughout all its history, Italian cinema has often shown a remarkable attention for claustrophiliac representations. As a consequence, the focus of the article will be the director Ettore Scola, a figure specialized in this approach, and particularly the case study of his 1977 release A Special Day (in Italian: Una giornata particolare), one of his most celebrated works, and a well-known one at international level, due also to its Academy Awards candidature and Golden Globe Awards win.
15
Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.
Full textAbstract:
FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer films is emerging that may be premature in rejecting the political and artistic radicalism of earlier Mexican queer cinema. The great virtue of these new queer films, however, is that they aim to connect with an audience beyond the art house that needs—in these changing, challenging times—to see this newly visible community represented on the big screen.
16
Lutjens, Sheryl. "Cuba Today and Tomorrow: Reinventing Socialism By Max Azicri. Gainesville: University Press of Florida, 2000. 396p. $55.00 cloth, $24.95 paper." American Political Science Review 96, no. 1 (March 2002): 227–28. http://dx.doi.org/10.1017/s0003055402234334.
Full textAbstract:
Max Azicri writes with acumen on the Cuban revolution in the very different decades of the 1960s, 1970s, and 1980s, and he offers an insightful assessment of the changes and challenges of the 1990s. His objective is to answer the puzzle of what he calls the “Cuban miracle”: the island's surprising survival in the face of the deep economic crisis associated with the collapse of the socialist bloc and the ongoing “punitive” policies of the United States. Azicri is not the only scholar to attempt an interpretation of Cuba in the 1990s. Susan Eckstein (Back from the Future: Cuba Under Castro, 1994), Ken Cole (Cuba: From Revoution to Development, 1998), Julia Jatar-Hausman (The Cuban Way: Capitalism, Communism, and Confrontation, 1999), and Robin Blackburn, (“Putting the Hammer Down on Cuba,” New Left Review, July-August 2000 (4): 5–36) are among those who have examined the nexus of Cuba's past and future in the post–Cold War context. An explosion of travel writing also demonstrates the intrigue of contemporary Cuba, as does the list of new detective thrillers—some of them bestsellers—with a Cuba setting. Azicri's book has a distinctive place in this literary landscape.
17
van Erp, Judith. "Anti-cartel thrillers as a new film genre: How regulator-produced films portray and problematize cartels and communicate deterrence." Crime, Media, Culture: An International Journal 14, no. 2 (January 11, 2017): 229–46. http://dx.doi.org/10.1177/1741659016685377.
Full textAbstract:
This article directs the ‘visual turn’ in criminology to corporate crime, a topic that has been understudied by cultural criminologists. A recent trend of corporate crime movies suggests that film can compellingly critique economic crime and unethical business cultures. This article studies how law enforcement agencies, particularly competition authorities, have connected with this trend by using film in their communicative strategy. This article introduces the emerging genre of anti-cartel enforcement thrillers: regulator-produced realistic docudramas in which fictional cartels are exposed and punished. These films’ narratives about cartel enforcement are reconstructed by studying how the films portray cartels, perpetrators and their motives, and the regulator. An analysis of four films produced in four jurisdictions demonstrates that the films deter only to the extent that the local legal and political-economic context allows: the British film reflects that country’s neoliberal ‘pro-business’ climate, while the Swedish film depicts businesses as socially responsible and the Dutch film is pragmatic rather than moralistic. Only the Australian film is explicitly punitive in its narrative as well as its imaginary, and exemplifies the persuasive potential of film in enforcement.
18
Hochscherf, Tobias. "Narrative Complexity and Cultural Relevance in the Name of Public Service Broadcasting: The Cases of Borgen and Herrens Veje." European Journal of Scandinavian Studies 49, no. 1 (April 24, 2019): 156–77. http://dx.doi.org/10.1515/ejss-2019-0010.
Full textAbstract:
Abstract Danish television has been able to produce a remarkable number of successful primetime dramas over the last years from Forbrydelsen (The Killing, DR 2007-12) to Herrens Veje (Ride upon the Storm, DR 2017-). Many of them are Nordic Noir crime dramas, yet the list also includes political thrillers and family dramas. This article briefly summarizes main reasons for the prolific production environment at public service broadcaster Danmarks Radio (DR). Some of the exceptional circumstances of Danish television demonstrate why the relatively small country was able to produce shows that found devoted audiences around the world. While the DR production framework has received much attention, this article takes a closer look at narrative composition, issues of characterization and the presentation of themes. Analyzing the first episodes of Borgen (DR 2010-13) and Herrens Veje, the article proposes that it is specifically the combination of multiperspectivity of the leading protagonists and how their life is linked to wider cultural, social and political debates, that can be identified as one main outcome of the fruitful collaboration between DR and various creative personnel. While both shows adhere to the main characteristics of complex serial drama as identified by Jason Mittel and Trisha Dunleavy, there are also some noticeable differences, including their strong public service ethos, their unusual Danish settings, the avoidance of transgressive protagonists, character-centred storylines and their slow, indulgent pace.
19
Shirokova, Liudmila F. "“Sales leaders” or “prize-winning books”: tastes and preferences of the Slovak reader." Slavic Almanac, no. 1-2 (2021): 396–406. http://dx.doi.org/10.31168/2073-5731.2021.1-2.4.04.
Full textAbstract:
The book market in Slovakia is very rich and diverse; it presents works of various genres and themes, aimed at readers with a variety of tastes. The article discusses approaches to the evaluation of literary products, on the one hand, from the point of view of the reading public, and, on the other hand, the members of the juries of a number of literary prizes awarded annually in the country. The largest Slovak publishing houses and bookstores conduct monitoring, constantly updating their data on the best-selling books. Among the bestsellers are, as a rule, works of popular genres, including detective stories, women’s novels, political thrillers, novels with elements of mysticism. Other criteria are put forward by the jury of prestigious literary competitions, first of all, the Anasoft Litera Award for the best original prose literary work in the Slovak language. In more detail, the article discusses the books of the winners in the recent years. These are Ondrej Štefánik (the novel “I am Paula”, 2016), Ivan Medeši (the collection of short stories “Eating”, 2018), Jana Sabuchová (the novel “Whisperers”, 2019). Etela Farkašová’s novel “The Script” (2017), due to its high artistic merits and humanistic orientation, was a great success with both critics and readers.
20
Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.
Full textAbstract:
The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.
21
Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.
Full textAbstract:
The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.
22
Mordecai, Rachel L. "Reading the Jamaican 1970s as Political Thriller." Small Axe: A Caribbean Journal of Criticism 23, no. 1 (March 1, 2019): 62–76. http://dx.doi.org/10.1215/07990537-7374454.
Full text
23
Kueny, Kathryn. "Infidel." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 139–41. http://dx.doi.org/10.35632/ajis.v25i1.1504.
Full textAbstract:
In Infidel, Ayaan Hirsi Ali’s goal is to provide “a subjective record (p. xii)”of her extraordinary life, a life that straddles six countries – Somalia, SaudiArabia, Ethiopia, Kenya, Holland, and the United States – in merely threedecades. The book’s title, however, suggests that this personal narrativeprobes well beyond the travels and escapades of a young African girl intimes of deep economic strife and political instability. Rather, Infidel mapsout a spiritual journey in reverse, what might be described as an anti-Islamicemigration “from the world of faith to the world of reason – from the worldof excision and forced marriage to the world of sexual emancipation” (pp.347-48).The work is divided into two parts. The first, “My Childhood,” tracksHirsiAli’s early years on the move with hermother, sister, and brother as herfather, beloved but perpetually absent, waged coup after coup againstMuhammad Siad Barre with the Somali Salvation Democratic Front(SSDF). Often he was deported or jailed.As a result, family life for HirsiAliwas far fromideal.After narrating her own birth, six weeks early, shemuses,“[p]erhaps my parents were happy” (p. 17). Tales of economic destitution,political corruption, and a mother who possessed all the symptoms of asevere depressive or schizophrenic suggest the young girl suffered greatphysical and emotional violence throughout her early years.Clearly, at a young age, her coping strategy was to lash out against herelders through ridicule and rebellion, despite the inevitable consequences.As a child, HirsiAli often spat at her grandmother.When hermother orderedher to make ink for the ma`alim who taught her the Qur’an, HirsiAli lockedherself in the bathroom and refused to come out for hours.Another time, shewas too tired to wash up the dishes after dinner, so she hid them all, crusted,in the refrigerator for a day. As a teenager, she devoured sensual romancenovels and trashy thrillers that aroused in her sexual feelings, even thoughshe “knew that doing so was resisting Islam in the most basic way” (p. 94).She also stole visits and kisses with a number of boyfriends, knowing fullwell her family’s disapproval.These seemingly petty alternatives to direct conflict with authority figuresand institutions were, perhaps, the only avenues available to the youngHirsi Ali to assert any control over hostile forces that denied her power overher own existence. These episodes reveal a world that, for Hirsi Ali, is ...
24
Allen, M. D. "Vertigo: A Cairo Political Thriller by Ahmed Mourad." World Literature Today 86, no. 2 (2012): 69–70. http://dx.doi.org/10.1353/wlt.2012.0095.
Full text
25
Kim, Soim. "Lincoln: A Political Thriller from the Historical Perspective." Journal of Modern English Drama 30, no. 2 (August 31, 2017): 37–68. http://dx.doi.org/10.29163/jmed.2017.08.30.2.37.
Full text
26
Burke, Sara, and Bettina Luise Rürup. "Political Thriller Exposes the Underbelly of Global Goals." Global Policy 10, S1 (January 2019): 137. http://dx.doi.org/10.1111/1758-5899.12640.
Full text
27
Zambrzycka, Marta. "Powieść Andrija Semiankiwa Tańce z kośćmi – ukraiński thriller medyczny." Studia Ukrainica Posnaniensia 12, no. 1 (July 12, 2024): 117–32. http://dx.doi.org/10.14746/sup.2024.12.1.8.
Full textAbstract:
The topic of the article is the specificity of a medical thriller based on the novel Danc-ing with Bones (Танці з кістками) (2022) by Andriy Semyankiv. The study points out the specific features of a medical thriller and their reflection in Semyankiv’s literary work. This novel has its own specificity due to the local political and economic contexts of Ukraine. It fully reflects the features of the genre, while at the same time not being a literary cliché. The author also tries to analyse the peculiarities of the phenomena of fear and anxiety, which are the basis of the content of this medical thriller. In an original way, the writer indicates the connection between these feelings and biocontrol.
28
Bossi, Lise. "Noir su nero: modalità della denuncia politica nei thriller1." Narrativa, no. 29 (September 1, 2007): 67–80. http://dx.doi.org/10.4000/narrativa.1853.
Full text
29
Castrillo, Pablo. "Towards a narrative definition of the American political thriller film." Communication & Society 28, no. 4 (October 15, 2015): 109–23. http://dx.doi.org/10.15581/003.28.4.109-123.
Full text
30
Axelson, Tomas. "Baghdad in My Shadow (2019): a Political Thriller in a Multireligious Europe." Journal of Religion, Media and Digital Culture 11, no. 2 (January 31, 2023): 149–70. http://dx.doi.org/10.1163/21659214-bja10063.
Full textAbstract:
Abstract This article presents the Swiss-Iraqi director Samir Jamal Aldin and his thriller Baghdad in My Shadow (2019) and puts it into a context of the re-negotiation of identities in a culturally diverse Europe. The director’s intention is presented as a wish to deal with taboo issues related to gay rights, women’s emancipation, and religious fundamentalism within an Iraqi community in contemporary London. The film is analysed with the help of (1) theories analysing tensions between liberal-secular and religious-fundamentalist standpoints, and (2) theories about film viewers’ engagement, amplifying audiences’ emotions and thoughts about complex societal issues. The film could be said to advocate a standpoint of dynamic secularism promoting individual rights. The article argues, furthermore, that Samir as a Swiss-Iraqi filmmaker encourages thick viewing through his thriller format and invites the audience to a deeper emotional and intellectual understanding of liberal principles, honour culture, and hybrid identity positions in contemporary Europe.
31
Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays." Journal of Screenwriting 11, no. 2 (June 1, 2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.
Full textAbstract:
The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
32
Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
Full textAbstract:
Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
33
Jacobi, W. "The history of the radon problem in mines and homes." Annals of the ICRP 23, no. 2 (April 1993): 39–45. http://dx.doi.org/10.1016/0146-6453(93)90012-w.
Full textAbstract:
The radon saga is a scientific thriller with tragic features and political confounders. The historical roots of this saga reach back to the 15th century. It is a field full of dilemmas, controversies and frustrations, some of which still persist. One should learn from this history which has been described in part by Schüttmann (1988) and Stannard (1988).
34
Oylumlu, İkbal Sinemden. "Thirteen Days: A Political Reading." CINEJ Cinema Journal 10, no. 1 (December 19, 2022): 314–39. http://dx.doi.org/10.5195/cinej.2022.537.
Full textAbstract:
Thirteen Days is a historical political thriller, reflecting John F. Kennedy's leadership characteristics and the decision-making process during the Cuban Missile Crisis, close to reality. The study explains the connection between fictional and real and the decision-making process through the similarities and differences between film scenes and real images. In this sense, it examines John F. Kennedy's decision-making process and leadership structure using both international relations theories and film review methods. The film has been created with a historical perspective, the character traits, crisis and resolution processes of the American president and his small group members, as well as the actors in the Soviet bloc. In addition, evaluating the attitudes and approaches of the Kennedy government and Kennedy's leadership structure are clearly reflected to the audience in the film. This study contributes to the understanding of international relations by explaining Small Thinking Decision and Rational Actor Model theories with the cooperation of the field of international relations and cinema. The sum up, to compare of film scenes and real elements is also important in terms of editing the parts that appear as black-boxes during the crisis and interpreting them close to reality.
35
Beck, Ulrich, and Frank Schirrmacher. "The Thrills of Misery." Foreign Policy, no. 145 (November 2004): 74. http://dx.doi.org/10.2307/4152948.
Full text
36
Khalid, Haleema, Muhammad Shahbaz, and Behzad Anwar. "Politicotainment: Fictionalizing Politics in Pakistani Cinema." Global Regional Review II, no. I (December 30, 2017): 273–88. http://dx.doi.org/10.31703/grr.2017(ii-i).19.
Full textAbstract:
This article aims to investigate Maalik, Pakistani political thriller as the product of ‘politicotainment’, a genre combining politics and entertainment. Keeping in view the nexus of politics, media and language, Discourse Historical Approach from the perspective of Critical Discourse Analysis with a particular focus on media, discourse, and society is employed. Maalik, is exceptional movie because it is explicitly related to real life socio-political and socio-cultural events of Pakistan; its focus on social and political issues such as exploitation of power and corrupt political system shifts the focus towards the ownership of Pakistan and accepting responsibilities. Therefore, the film connects the emerging political discourse in Pakistan with the rising public pulse against corruption and call for accountability. This research provides insights regarding the discursive construction of contemporary Pakistani narrative in the time of national crisis in order to reveal the projected and recontextualized norms in the context of Pakistan.
37
Ibrahim, Ezzat. "Congressional Endeavor: The Nexus of Political Powers." PS: Political Science & Politics 37, no. 4 (October 2004): 909–10. http://dx.doi.org/10.1017/s1049096504045445.
Full textAbstract:
The APSA Congressional Fellowship is quite a new program in the Middle East. Thanks to a recent partnership between the American Political Science Association and the Fulbright Commission researchers and journalists from different parts of the world have the chance to participate in the distinguished program. Given the fact that such programs are not well known outside the academic field, the Fulbright Commission in Cairo took the initiative to invite more people from different fields. As a journalist working for a leading newspaper in the Arab World, Al-Ahram, the experience of a 10-month focus on the U.S. Congress has thrilled me because the basic knowledge of the U.S. legislative body in the Arab world has been either inaccurate or insufficient.
38
Sullivan, Kelly. "Elizabeth Bowen and the Politics of Consent." Irish University Review 51, no. 1 (May 2021): 24–39. http://dx.doi.org/10.3366/iur.2021.0493.
Full textAbstract:
As a novelist preoccupied with the sexualized gothic conventions haunting Irish fiction since the eighteenth century, Bowen persistently turns to the fraught concept of British and Irish women's consent during periods of twentieth-century political violence. This article considers Bowen's use of gothic tropes of consent in The Last September (1929) as well as a more sustained engagement with the Irish gothic, citizen-subjecthood, and the political valence of consent in her WWII thriller, The Heat of the Day (1948). It argues that in formulating consent in relation to knowledge, and in articulating the necessarily contractual nature of consent, Bowen seeks to define the ethics of individual rights and responsibility during and after World War Two.
39
Bratos, Francesco. "Ignorantia juris non excusat: The trial and the affirmation of the Italian legal thriller." Forum Italicum: A Journal of Italian Studies 53, no. 2 (April 9, 2019): 532–43. http://dx.doi.org/10.1177/0014585819831644.
Full textAbstract:
The complex relationship between literature and law has been widely debated. Over the last 20 years, the judicial novel has been the subject of renewed consideration from critics. Numerous studies have pointed out how literary and judicial practices seem characterized by common methods of narrative organization and communication of experiences. Beyond the controversy on the classification of the judicial novel as literary genre, the representation of courtrooms has undeniably become one of the recurring tropes of the 20th-century novel. Within this multifaceted literary movement, the unique style of Italian judiciary literature warrants its articulation as a distinct genre. The working hypothesis of this article is that the political and cultural centrality acquired by the Italian Magistratura, as result of a longstanding confrontation with the political powers, is essential in studying the success of the Italian judiciary novel, together with the emergence of a vast number of jurist-writers. Analyzing specifically the work of the jurist-writer Gianrico Carofiglio, I will demonstrate how the Italian legal thriller transforms the representation of the trial, dealing with the literary tradition as well as with law’s own representation.
40
Krasno, Jonathan S. "Introduction—Political Scientists in McConnell v. FEC." PS: Political Science & Politics 37, no. 4 (October 2004): 769–70. http://dx.doi.org/10.1017/s104909650404510x.
Full textAbstract:
The Supreme Court's sweeping decision in December, 2003, in McConnell v. FEC was as unexpected as it was dramatic. For months the conventional wisdom had been that the Court was certain to overturn one and possibly both of the main parts of the McCain-Feingold law, or otherwise substantially narrow the statue. Instead, the justices, by a slim 5-4 majority, did just the opposite; not only upholding the law but doing so in terms that virtually echoed the defendants' arguments. Proponents were stunned and thrilled. Opponents were appalled; Justice Scalia called it the “opening act of a national tragedy.” Both sides agreed, however, that the decision in McConnell stands as one of the most important campaign finance and First Amendment precedents in several decades.
41
Afolayan, Adeshina. "Fálétí’s Philosophical Sensibility." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129978.
Full textAbstract:
Let us begin with an unfortunate fact: Adébáyọ̀ Fálétí is one major writer that is hardly anthologized. The problem could not have been that he wrote in Yorùbá because Fágúnwà is far more anthologized than he is. Simon Gikandi’s edited Encyclopedia of African Literature (2003) has an entry and other multiple references to Fágúnwà. There is only one reference to Fálétí which is found in the index without any accompanying instance in the work. In Irele and Gikandi’s edited volumes, The Cambridge History of African and Caribbean Literature (2004), Fálétí only managed an appearance in the bibliography that featured four of his works—Wọn Rò Pé Wèrè Ni ́ (1965), Ọmọ Olókùn Ẹṣin (1969), Baṣòrun Gáà (1972) and Ìdààmú Páàdì Mínkáílù (1974). In the preface, Irele and Gikandi write: The scholarly interest in African orality also drew attention to the considerable body of literature in the African languages that had come into existence as a consequence of the reduction of these languages to writing, one of the enduring effects of Christian evangelization. The ancient tradition of Ethiopian literature in Ge’ez, and modern works like Thomas Mofolo’s Shaka in the Sotho language, and the series of Yorùbá novels by D. O. Fágúnwà, were thus able finally to receive the consideration they deserved. African-language literatures came to be regarded as a distinct province of the general landscape of imaginative life and literary activity on the African continent (2004, xiii). Essays 60 Adeshina Afolayan In fact, the publication of Fágúnwà’s Ògbójù Ọdẹ Nínú Igbó Ìrúnmalẹ (The ̀ Intrepid Hunter in the Forest of Spirits, 1938) made the chronology of literary events in Africa, and it misses out Fálétí’s 1965 work. In her “Literature in Yorùbá: poetry and prose; traveling theater and modern drama,” in the same volume, Karin Barber seems to redress this imbalance when she gives a place to Fálétí in her discussion of post-Fágúnwà writers. According to her, In the late 1960s and throughout the 1970s there was an explosion of literary creativity, with many new authors emerging and pioneering new styles and themes. Among the most prominent were Adébáyọ Fálétí whose ̀ Ọmọ Olókùn Ẹṣin (1969) is a historical novel dealing with a revolt against the overlordship of Ọyọ, and Ọládèjọ Òkédìjí, author of two brilliantly innovative crime thrillers (Àjà ló lẹrù, 1969, and Àgbàlagbà Akàn, 1971), as well as a more somber tragic novel of the destruction of a young boy who is relentlessly drawn into a life of crime in the underworld of Ifẹ (Atótó Arére, 1981). Notable also are Akínwùnmí Ìsòlá, whose university campus novel Ó le kú (1974) broke new ground in social setting and ambience; Afọlábí Ọlábímtán, author of several novels, including Kékeré Ẹkùn (1967), which deals with the conflicts arising from early Christian conversion in a small village, and Baba Rere! (1978), a contemporary satire on a corrupt big man; and Kólá Akínlàdé, prolific author of well-crafted detective stories such as Ta ló pa Ọmọ Ọba? (Who Killed the Prince’s Child?). These authors were all verbal stylists of a high order; they transformed the literary language, moving away from Fágúnwà’s rolling cadences to a more demotic, supple prose that successfully caught the accents of everyday life (2004, 368). While it may be misplaced to draw a comparison between Fágúnwà and Fálétí, there is a sense in which Fálétí’s demonstrates a more robust literary sensibility that goes beyond the allegorical into a realistic assessment of human relationship and sociality within the context of the Yorùbá cultural template. While Fágúnwà could not resist the influence of Christianity, and especially the allegorical motif of the journey in which humans encounter spiritual challenges (which John Bunyan’s Pilgrim Progress made popular), Fálétí is fundamentally a cultural connoisseur; a writer with a most intimate and dynamic understanding of the Yorùbá condition, especially in its conjunction with the political and sociocultural contexts of contemporary Nigeria. And we have Ọlátúndé Ọlátúnjí to thank for the deep exploration and interrogation of the fundamental poetic and literary nuances that Fálétí has left for us. In this essay, I will attempt to unearth the philosophical sensibility that undergirds Fálétí’s literary prowess, especially as demonstrated by his poems. Fálétí’s Philosophical Sensibility 61 Both the poets and the philosophers have always had one thing in common— the exploration of the possibilities that ideas and visions yield: As theoretical disciplines concerned with raising social consciousness, philosophy and literature engage in similar speculation about the good society and what is good for humanity. They influence thoughts about political currents and conditions. They can, for instance, lead the reader to critical reflections on the type of leaders suitable for a given society and on the degree of civic consciousness exercised by the people in protecting their rights. Philosophy and literature, equally, offer critical evaluation of existing and possible forms of political arrangements, beliefs and practices. In addition, they provide insights into political concepts and justification for normative judgements about politics and society. They also create awareness of possibilities for change (Okolo 2007, 1). Compared to Ọlátúnjí’s exploratory unraveling of Fálétí’s poetry, my objective is to enlist Fálétí as a poet that has not been given his due as one who is sensitive to the requirements of political philosophy and its objective of ensuring the imagination of a society that is properly ordered according to the imperatives of justice.
42
Johnston, Sheila. "Interview: Kathryn Bigelow: Vicarious thrills." Index on Censorship 24, no. 6 (November 1995): 41–45. http://dx.doi.org/10.1080/03064229508535982.
Full text
43
Keenaghan, Eric. "The Political Experiment of “Pot-Boylers”: Thinking, Feeling, and Romance in Kay Boyle’s Resistance Thriller Avalanche." Journal of Narrative Theory 48, no. 3 (2018): 339–77. http://dx.doi.org/10.1353/jnt.2018.0015.
Full text
44
McGuinness, Caitlin. "Domestic espionage: David Park'sSwallowing the Sunas Troubles thriller." Irish Studies Review 17, no. 3 (August 2009): 331–45. http://dx.doi.org/10.1080/09670880903115538.
Full text
45
Gibson, J. William. "Redeeming Vietnam: Techno-Thriller Novels of the 1980s." Cultural Critique, no. 19 (1991): 179. http://dx.doi.org/10.2307/1354313.
Full text
46
Bussieres, Marie-Pierre. "A Twenty-First-Century Gospel: Jesus at the Vatican in Paolo Sorrentino’s The Young Pope." Journal of Religion and Popular Culture 32, no. 3 (January 1, 2021): 204–18. http://dx.doi.org/10.3138/jrpc.2018-0005.
Full textAbstract:
Paolo Sorrentino called his series The Young Pope “a thriller of the soul.” In this religio-political drama, Sorrentino explores the fortune of the Catholic Church were a young, intransigent, irritable American cardinal elected pope. Building his story line around the life of Christ, with intertextual citations to the New Testament and visual allusions to Christian art and Jesus movies, Sorrentino offers a twenty-first-century gospel to remind the viewer that the gospel is not only about tolerance. By presenting his young pope as the returned Christ, and not as a Christ figure, he shows that conservatism is equally present with liberalism in its message.
47
Tatyana Stanovaya. "WHO SET UP WHOM: THE STORY OF SIEMENS GAS TURBINES IN THE CRIMEA AS A POLITICAL THRILLER." Current Digest of the Post-Soviet Press, The 69, no. 028 (July 10, 2017): 12–13. http://dx.doi.org/10.21557/dsp.49228979.
Full text
48
KASSEM, HADI SHAKEEB. "The Sixties in Berlin and in Hollywood: City with a Wall in Its Center—The Attempt to Erase the German Past." Advances in Politics and Economics 4, no. 3 (September 2, 2021): p49. http://dx.doi.org/10.22158/ape.v4n3p49.
Full textAbstract:
Berlin was the location in which most of the intelligence operations in Europe have taken place in the first twenty years of the conquest and the Cold War. In November 27, 1958, Khrushchev issued a formal letter to the Allies, demanding that the western Allies evacuate Berlin and enable the establishment of an independent political unit, a free city. He threatened that if the West would not comply with this, the soviets would hand over to the East Germany’s government the control over the roads to Berlin. In the coming months Moscow conducted a war of nerves as the last date of the end of the ultimatum, May 27, 1959, came close. Finally the Soviets retreated as a result of the determination of the West. This event reconfirmed the claims of the West that “the US, Britain and France have legal rights to stay in Berlin.” According to Halle: “These rights derive from the fact that Germany surrendered as a result of our common struggle against Nazi Germany.” (Note 2) The Russians have done many attempts to change Berlin’s status. In 1961 Berlin Wall was constructed, almost without response on the part of the West, and by so doing, the Soviets perpetuated the status quo that had been since 1948. In July 25, 1961 Kennedy addressed the Americans on television, saying that “West Berlin is not as it had ever been, the location of the biggest test of the courage and the will power of the West.” (Note 3) On June 26, 1963, Kennedy went out to Berlin, which was divided by the wall, torn between east and west, in order to announce his message. In his speech outside the city council of West Berlin, Kennedy won the hearts of the Berliners as well as those of the world when he said: “Ich bin ein Berliner”, I’m a Berliner. The sixties were years of heating of the conflict with the Soviet Block. In 1961 the Berlin Wall was constructed. Then Kennedy came into power, there was the movement for human rights and the political tension between whites and blacks in America. The conflict increase as the Korean War started, and afterwards when America intervened in Vietnam. There was also the crisis in the Bay of Pigs in Cuba, which almost pushed the whole world into a nuclear war and catastrophe. During the 28 years of the Berlin Wall, 13.8.61-9.11.89, this was notorious as an example of a political border that marked the seclusion and freezing more than freedom of movement, communication and change. At the same time there was the most obvious sign of the division of Germany after WWII and the division of Europe to East and West by the Iron Curtain. The wall was the background of stories by writers from east and west. The writers of espionage thrillers were fascinated by the global conflict between east and west and the Cold War with Berlin as the setting of the divided city. Berlin presented a permanent conflict that was perceived as endless, or as Mews defined it: “Berlin is perfect, a romantic past, tragic present, secluded in the heart of East Germany.” (Note 4) The city presented the writers with a situation that demanded a reassessment of the genres and the ideological and aesthetic perceptions of this type of writing. This was the reason that the genre of espionage books blossomed in the sixties, mainly those with the wall. The wall was not just a symbol of a political failure, as East Germany could not stop the flow of people escaping from it. The city was ugly, dirty, and full of wires and lit by a yellow light, like a concentration camp. A West German policeman says: “If the Allies were not here, there would not have been a wall. He expressed the acknowledgment that the Western powers had also an interest in the wall as a tool for preventing the unification of Germany. But his colleague answers: If they were not here, the wall would not have been, but the same applies for Berlin. (Note 5) Berlin was the world capital of the Cold War. The wall threatened and created risks and was known as one of the big justifications for the mentality of the Cold War. The construction of the wall in August 1961 strengthened Berlin’s status as the frontline of the Cold War and as a political microcosmos, which reflected topographical as well as the ideological global struggle between east and west. It made Berlin a focus of interest, and this focus in turn caused an incentive for the espionage literature with the rise of neorealism with the anti-hero, as it also ended the era of romanticism. (Note 6) The works of le Carré and Deighton are the best examples of this change in literature. Both of them use the wall as the arena of events and a symbol in their works. Only at the end of the fifties, upon the final withdrawal of McCarthyism and the relative weakening of the Cold War, there started have to appear films with new images about the position and nature of the Germans and the representations of Nazism in the new history. The films of the Cold War presented the communists as enemies or saboteurs. Together with this view about the Soviets, developed the rehabilitation of the German image. Each part of the German society was rehabilitated and become a victim instead of an assistant of the Nazis. The critic Dwight MacDonald was impressed by the way in which the German population” has changed from a fearful assistant of one totalitarian regime to the hero opponent of another totalitarian regime”. (Note 7) This approach has to be examined, and how it influenced the development of the German representation, since many films I have investigated demonstrate a different approach of the German representation.
49
Margalit, Gilad. "On Ethnic Essence and the Notion of German Victimization: Martin Walser and Asta Scheib’s Armer Nanosh and the Jew within the Gypsy." German Politics and Society 20, no. 3 (September 1, 2002): 15–40. http://dx.doi.org/10.3167/104503002782486208.
Full textAbstract:
This article discusses a screenplay of the television thriller ArmerNanosh (Poor Nanosh), written in 19891 by the famous Germanauthor Martin Walser and Asta Scheib.2 The screenplay deals withthe relations between Germans and Germany’s Sinti, or Gypsy, populationin the shadow of Auschwitz,3 a subject that has hardly beentouched upon by postwar German authors and dramatists.
50
Cooley, Will. "“Vanilla Thrillas”: Modern Boxing and White-Ethnic Masculinity." Journal of Sport and Social Issues 34, no. 4 (September 22, 2010): 418–37. http://dx.doi.org/10.1177/0193723510379992.
Full text