Suchergebnisse

This is the author accepted manuscript. The final version is available from Routledge via the DOI in this record

This is the author accepted manuscript. The final version is available from Elsevier via the DOI in this record ; The 1970s saw Chile and Peru, both headed by military dictators, come to the brink of war. In order to avoid such a war, the Chilean military in the far north engaged in techniques of 'spectacle' for two reasons: firstly, to convince citizens on both sides of the border that Chile had a strong miltary and would succeed in the event of a war with Peru, and secondly, to create the impression of 'fraternity' with Peru. To perform these spectacles, the Chilean military employed the geography of northern Chile in three spaces: the desert, the border, and the city. These spaces became stages where acts of military deception could be implemented with the Chileans using fake tanks, military ceremonies, and bogus parades to appear militarily strong. This extends current scholarship by arguing that multiple environments can be harnessed for their specific geographical qualities in order to stage a unified geopolitical spectacle. Previous geographical scholarship has focused on individual environments as military spaces and scholarship on spectacle has treated environments as a backdrop and not a central part of how the spectacle is enacted. Here I show that it was the precise natures of the border, the desert, and the city that were exploited for a multi-scaled, heterogeneous, and fractured form of spectacle. Through the orchestrated control of these three spaces that define the border region, a clear narrative of military strength matched with a desire for peaceful co-operation with Peru was created.

This is the final version. Available from the publisher via the DOI in this record. ; This paper examines the representation of borders in Latin American film through a close reading of one film of the New South American Cinema movement, Mi Mejor Enemigo (Chile, 2005). The border is posited as heterotopic which acknowledges the multi-layered power dynamics imbued in borderlands which profoundly affect how people travel through them. Through film analysis an understanding of how the characters in Mi Mejor Enemigo are affected and shaped by the experience of crossing heterotopic borders becomes apparent. An engagement with Third Cinema and feminist film theory highlights how nationalism and gender become heightened at the border. The characters become regarded as 'others' and are affected by their spatial movement with labels based on their nationality, gender, ethnicity or sexuality ascribed to them.

FOR EVERYONE INTERESTED IN THE NATURE AND CAUSES OF ECONOMIC GROWTH, EVENTS IN EAST ASIA OVER THE PAST HALF CENTURY HAVE BEEN OF OUTSTANDING INTEREST. THIS ARTICLE BEGINS BY BRIEFLY DISCUSSING THE MAIN GROWTH THEORIES AND MODELS OF ECONOMISTS. THE SECOND PART THEN CONSIDERS THE WORLD BANK REPORT ON EAST ASIA IN THE LIGHT OF THIS EARLIER DISCUSSION OF GROWTH THEORY. IT ARGUES THAT, THOUGH VERY CONVINCING ON SEVERAL POINTS, THE WORLD BANK REPORT PAID INSUFFICIENT ATTENTION TO THE ROLE OF TECHNICAL CHANGE IN ECONOMIC GROWTH. FINALLY, THE THIRD PART DISCUSSES THE COLLAPSE OF THE "EAST ASIAN MIRACLE" AND OFFERS A CRITIQUE OF THE IMF PRESCRIPTION FOR VARIOUS ASIAN COUNTRIES.

Throughout this article the word 'research' is, for convenience, used as short-hand for 'research and development'—except in one or two instances where the context makes clear that development costs are being discussed separately. The comparison is restricted to manufacturing industry, and excludes capital expenditure.

This is the author accepted manuscript. The final version is available from Routledge via the DOI in this record ; The abortion road trip is a narrative device that has emerged in the last decade whereby the central plot of the story is the journey taken in search of an abortion. In this paper we analyze two young adult novels (Unpregnant and Girls on the Verge) and two films (Never Rarely Sometimes Always and Grandma) that follow adolescent girls traveling for abortions in the contemporary United States. Through the analysis of these four narratives, we argue that representations of the abortion road trip are novel for their focus on the barriers and politics of abortion access in the United States. While the representations do prioritize certain barriers over others, they mark an important shift in abortion discourse in popular culture. Instead of the 'drama' of the plot being the decision to have an abortion, it is increasingly other socio-politico-legal issues such as the lack of abortion clinics, the distance required to travel, legal rights for adolescents, the cost of the procedure, and the opinions of family and friends that take center stage. The focus on these structural, political barriers can help to educate audiences about the realities of abortion access in the US and move abortion discourse beyond the individual.