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Murray Smith

challenge or invert conventional wisdom on central aspects of the Hollywood aesthetic: on the roles of style and ideology , respectively. Pull Up to the Bumper Berliner lays out five functions of style (“the distinctive and patterned use of the

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Todd Berliner

films complicate formal patterning and thwart audience expectations. They do so by combining classical narrative, stylistic, ideological, and genre properties with some fairly bold (by Hollywood standards) deviations from normative practices

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Linking Ideology, Habitus and Landscape

Traditional and Contemporary Uses of Gardens and Parks in Iran

Nasim Yazdani

For centuries, nature has played significant roles in the Persianate world. Across generations and beyond national borders, Persian gardens and parks have carried traces of narratives, beliefs and attitudes of those who designed, built and used them. This article explores Persian garden history and philosophy, and the emergence of urban parks in Iran. It examines the evolution of cultural attitudes and their reflections in contemporary meanings, layout and use of parks. Landscape narratives both influence and are shaped by shifting cultural values and needs. Urbanisation – and the necessity for urban dwellers to experience ‘nature’ in new environments, sociocultural factors and habitus transformation contribute to the diminution of the role of ‘traditional’ narratives in contemporary design. Nevertheless, the importance of spaces of stillness in landscape design, inherited from Persian garden ideology, influences recreational behaviour in Iran’s contemporary urban parks.

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Buffeted by Political Winds

Children’s Literature in Communist Romania

Adrian Solomon

1960s and 1970s, were very little, if at all, ideologically contaminated—so many, in fact, that it is hard to tell whether they were the exceptions or the rule. The two questions raised below about Romanian children’s literature written under Communism

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

, but of an earlier character, setting, or concept’. 18 The concept here is that of the flooded and potentially resurfacing Breton city, and its adaptation is, as we shall see, filtered through the ideology of the Caouissins’ project, which aimed, in

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Flemish Comics versus Communist Atheism

Renaat Demoen’s Au pays de la grande angoisse (1950–1951)

Philippe Delisle

Prémontré, and were distributed in the first instance in Belgian Catholic primary schools. 7 Au pays de la grande angoisse belongs in many ways to an ideological tradition characteristic of Franco-Belgian comics from the 1920s to the 1950s. Even so, this

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Todd Berliner

to Part 3 on style and Part 4 on ideology in Hollywood cinema. I am going to ignore all of the lovely things he, and the other respondents, had to say about my book and focus on the more provocative negative criticisms. Smith correctly separates my

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Janet Staiger

following a narrative, style, ideology, or genre (Berliner's four main categories of aesthetic analysis)? 2. What needs to be considered when taking account of the expert historical spectator to which Berliner often refers? For instance, he discusses

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Pegida in Parliament?

Explaining the Failure of Pegida in Austria

Farid Hafez

Austria offers restricted space for Pegida in terms of political opportunity structures, ideology, but also resources due to the strong position of a rrp . My argument is structured by social movement theory ( smt ). For this reason, I present a short

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Strange Encounters during Wartime

Bécassine chez les Turcs

Annabelle Cone

Too ideologically conservative to associate with contemporary bande dessinée, the Bécassine albums (1905-1939) nonetheless provide a rich historical and sociological archive of French behaviors, values and attitudes during the latter half of the Third Republic. A closer reading of the four albums set during the First World War, and the fourth one in particular, Bécassine chez les Turcs, helps to demystify the place in the world of France as superpower. The partnering of exotic 'Others' - a maid from Brittany with an Arab immigrant - further complicates a plot unable to end the war with patriotic unity and a return to the status quo. Bécassine the character puts a human face on displacement as she befriends colonised subjects. This study yields a vision of a smaller, more fragile France for readers who are not as much nostalgic for a glorious past as eager to decipher the complexity of a troubled time through the eyes of a subaltern observer.