The organizational shaping of collective identity: The case of lesbian and gay film festivals in New York

1996 ◽  
Vol 11 (2) ◽  
pp. 231-261 ◽  
Author(s):  
Joshua Gamson
2006 ◽  
Vol 39 (4) ◽  
pp. 985-991 ◽  
Author(s):  
Morris M. Mottale

The Quest for Modernity in the Middle East and the Islamic World Memories of State: Politics, History, and Collective Identity in Modern Iraq, Eric Davis, Berkeley: University of California Press, 2005, pp. xi, 385.The Future of Kurdistan in Iraq, Brendan O'Leary, John McGarry and Khaled Salih, eds., Philadelphia: University of Pennsylvania Press, 2005, pp. xxi, 355Nationalism and Minorities Identities in Islamic Societies, Maya Schatzmiller, ed., Montreal: McGill-Queen's University Press, 2005, pp. xiii, 346Muslims and Modernity: An Introduction to the Issues and Debates, Clinton Bennett, London, New York: Continuum, 2005, pp. xviii, 286These four books encapsulate a range of political issues that have shaped the formation of states and ideologies in the Middle East and North Africa since the beginning of the modern encounter between Europe and the Islamic world, from the Napoleonic invasion of Egypt through the post-World War I demise of the Ottoman world up to the American invasion of Iraq in 2003.


Author(s):  
Alex Britton

CHARACTERIZATION, REVISIONISM AND MISREPRESENTATION IN THE FILMS OF JULIAN SCHNABEL A few years ago after viewing the 2007 film The Diving Bell and the Butterfly, the third film by contemporary director and (former) star painter Julian Schnabel, a friend of New York Review of Books writer Sanford Schwartz prophetically announced to the critic, "Apparently it's easier to make a great movie than a great painting."(1) Indeed, Schnabel's ascension to art stardom has taken a truly enigmatic path. Initially conjuring his success as a painter within the elitist landscape of the late 20th century New York City art market, today we find Schnabel strutting down the red carpet of the Cannes and Toronto international film festivals after writing and directing three films while armed with seemingly zero experience in the field of filmmaking or screenwriting. As a painter, Schnabel's work is largely classified as "Neo-Expressionist", belonging to Postmodernism's timely...


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