Suchergebnisse

Jetzt packen Polizisten aus! - Der Einsatz eines Spezialeinsatzkommandos endet in einem Skandal ... - Zwei Polizisten berichten aus nächster Nähe über die Katastrophe der Loveparade in Duisburg ... - Im Rotlichtmilieu treffen Hells Angels, Mafia und Polizei aufeinander ... Krimis, Polizeiserien, Reality -Dokus - kaum schalten wir den Fernseher ein, begegnen wir Polizisten bei der Arbeit. Wir glauben zu wissen, wie der Polizeialltag aussieht. Aber auch Polizisten sind Menschen mit Ängsten und Abgründen. Für dieses Buch vertrauten sich deutsche Polizisten erstmals einem ehemaligen Kollegen an, um Aussenstehenden authentische und schonungslose Einblicke in die abgeschottete Polizeiwelt zu gewähren: Unbemerkt geschieht ein Auftragsmord, obwohl ein Observationsteam der Polizei nur wenige Meter entfernt ist. In einem Einsatz eines Spezialeinsatzkommandos verletzt ein SEKler einen Kollegen schwer. Erstmals berichten auch zwei Polizisten über die Katastrophe bei der Loveparade in Duisburg und über ihre schwere Traumatisierung. Diese und fünf weitere wahre Geschichten zeichnen ein Bild der Polizei, wie man es garantiert noch nicht kennt. (Verlagswerbung)

Report über die sich immer mehr in Deutschland ausbreitenden Strassengangs wie die Black Jackets, die United Tribuns und die Red Legion, die nach Ansicht des Autors ein Gefährlichkeitspotential erreicht haben, gegen das Polizei und Justiz kaum noch ankommen

Von den einen bewundert, von den anderen gefürchtet und gehasst, die Hells Angels sorgen seit Jahrzehnten für kontroverse Diskussionen. In den letzten Jahren fielen sie besonders in Deutschland durch einen regelrechten Bandenkrieg mit den verfeindeten Bandidos auf, der zahlreiche Todesopfer forderte. Einige Charter wurden daraufhin verboten, weitere Verbote stehen auf der Agenda deutscher Innenminister

Paul von Hindenburg and Philippe Pétain both managed to work their way up from general to head of state. Their followers declared them saviors. Their opponents condemned them as traitors, attacking the political order that these two heroes of World War I represented. Stefan Schubert compares those orders and examines the connection between the heroization of the military and its political impact in Germany and France

"This book introduces the concept of 'narrative instability' in order to make visible a new trend in contemporary US popular culture, to analyze this trend's poetics, and to scrutinize its textual politics. It identifies those texts as narratively unstable that consciously frustrate and obfuscate the process of narrative understanding and comprehension, challenging their audiences to reconstruct what happened in a text's plot, who its characters are, which of its diagetic worlds are real, or how narrative information is communicated in the first place. Despite - or rather, exactly because of - their confusing and destabilizing tendencies, such texts have attained mainstream commercial popularity in recent years across a variety of media, most prominently in films, video games, and television series. Focusing on three clusters of instability that form around identities, realities, and textualities, the book argues that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narrative instability embodies a new facet of popular culture, that it takes place and can only be understood transmedially, and that its textual politics particularly speak to white male, middle-class Americans." -- Back cover

The following text is an excerpt from the book Narrative Instability: Destabilizing Identities, Realities, and Textualities in Contemporary American Popular Culture, which was originally published in 2019 with Universitätsverlag Winter as part of the series American Studies – A Monograph Series. The book introduces the concept of 'narrative instability' in order to make visible a new trend in contemporary US popular culture, to analyze this trend's poetics, and to scrutinize its textual politics. It identifies those texts as narratively unstable that consciously frustrate and obfuscate the process of narrative understanding and comprehension, challenging their audiences to reconstruct what happened in a text's plot, who its characters are, which of its diegetic worlds are real, or how narrative information is communicated in the first place. Despite—or rather, exactly because of—their confusing and destabilizing tendencies, such texts have attained mainstream commercial popularity in recent years across a variety of media, most prominently in films, video games, and television series. Focusing on three clusters of instability that form around identities, realities, and textualities, the book argues that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narrative instability embodies a new facet of popular culture, that it takes place and can only be understood transmedially, and that its textual politics particularly speak to white male middle-class Americans.

In this article, I investigate the video game BioShock for its political and cultural work and argue that it offers a popular platform to discuss the politically charged question of choice, both inside and outside the realm of video games. In a first section, I introduce the game's basic plot and setting, propose a way to study how video games operate narratively, and briefly discuss the 'political' dimension of games in general. Afterwards, I look at how BioShock is influenced by Ayn Rand's philosophy of objectivism, a philosophy that emphasizes the importance of individual choice and self-interest, and I trace this influence specifically in the game's main antagonist, Andrew Ryan, and its setting, the underwater city of Rapture. With these elements as a basis, I analyze how BioShock engages with the politics of choice, focusing on a major twist scene in the game to demonstrate how BioShock deals with the question of choice on a metatextual level. Reading this scene in the context of the game's overall narrative, specifically of moral choices in the game that lead to different endings, I argue that the game metatextually connects the political question of choice inherent in objectivism to the narrative and the playing of the game, pointing to the ambivalences inherent in questions of choice, agency, and free will.