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| 1 |
ID:
172811
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| Summary/Abstract |
Wonder Woman (2017) has been one of the most lucrative entries in the recent superhero film canon. With a female lead and director, it has also proven a rich text for feminist analysis. Here, the film’s engagement with questions of gender, aesthetic judgment and disability is explored through the lens of feminist geopolitics, and connected to the alignment between immorality and disfigurement in Hollywood more broadly. It is suggested that aesthetic value is used in the film as a key organizing principle for spatial and geopolitical claims. Through this analysis, the paper suggests the potential for further studies of disability, including disfigurement, in popular geopolitics.
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| 2 |
ID:
122267
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| Publication |
2013.
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| Summary/Abstract |
After 9/11, the US introduced a public warning system for terrorism, the Homeland Security Advisory System: the first of its kind in the country. Within months, however, the system was attracting widespread criticism, with questions regarding its ability to adequately communicate risk, its use of colour-coded threat levels, and even its potential to be manipulated for political advantage by the Bush administration. Despite this, the UK introduced a similar system in 2006. Whilst some lessons appear to have been learned from the American experience, in other respects the UK approach is still a work in progress.
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| 3 |
ID:
121433
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| Publication |
2013.
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| Summary/Abstract |
This paper explores the possibilities of considering humour and laughter as a serious matter of concern for critical geopolitics and political geography more generally. While there has been some interest in this topic, there is scope to devise a more expansive research agenda. Using both laughter and Michael Billig's notion of unlaughter, the paper considers how these visceral expressions contribute, often in subtle ways, to the making of geopolitical subjectivities. The final part of the paper considers some possibilities for future research.
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| 4 |
ID:
189389
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| Summary/Abstract |
This article explores the potential for the field of popular geopolitics of close attention to the form and structure of instrumental film music. Specifically, it analyses the film scores for Superman (1978) and Superman Returns (2006), showing how these, in conjunction with the films’ visual components, communicate a series of geopolitical logics and ideas about gender and nationhood. In so doing, this article extends existing concerns in popular geopolitics with music, principally lyrical popular music, contributing to a new research agenda that offers detailed readings of musical scores and notation, informed by semiotic perspectives. It advocates an interdisciplinary approach to the analysis of film music, drawing on research in the rich and expanding field of film music studies. It supplements the close reading of the scores here with an analysis of audience reviews.
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