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Between March and October 2011, a coalition of North Atlantic Treaty Organization (NATO) member states and several partner nations waged a war against Muammar Qaddafi's Libyan regime that stemmed and then reversed the tide of Libya's civil war, preventing Qaddafi from crushing the nascent rebel movement seeking to overthrow his dictatorship and going on to enable opposition forces to prevail. The central element of this intervention was a relatively small multinational force's air campaign operating from NATO bases in several countries, as well as from a handful of aircraft carriers and amphibious ships in the Mediterranean Sea. The study details each country's contribution to that air campaign, examining such issues as the limits of airpower and coordination among nations. It also explores whether the Libyan experience offers a potential model for the future.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
This textbook introduces students to think and write critically against the backdrop of a broad theoretical and empirical foundation of the concept of international justice. It brings together several global and transnational issues from an interdisciplinary perspective. It exposes students to a wide range of political, economic, social and cultural problems across different world regions, including migration, climate change, mass violence, and pandemics. Thanks to this book, students learn to apply different theoretical frameworks, such as environmentalism or feminism, to analyze and better understand the interconnectedness and the transnational character of these global justice-related problems across societies and cultures.
Committee Serial No. 89-34. Considers H.R. 15225, and 15 identical bills, to amend Tennessee Valley Authority Act of 1933 to increase the amount of bonds that may be issued by TVA.