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Film > Making sense of Geopolitics and Film > Flashcards

Making sense of Geopolitics and Film Flashcards

1
Q

? and Dixon (200?)

- ? is a ? of the real world, ? loaded with ? and ?

A

Cresswell and Dixon (2002)

- Film is a mimic of the real world, representations loaded with bias and propaganda

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2
Q

? and ? (200?)

- A ? of popular culture is ?, and suggestion that the media has successfully ‘?’ a ?

A

Dittmer and Dodds (2008)

- A fan of popular culture is performative, and suggestion that the media has successfully ‘produced’ a citizen

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3
Q

? and Gray (201?)

- ? media actively seeks to create ?

A

Dittmer and Gray (2010)

- Popular media actively seeks to create affect

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4
Q

? (200?)

- ? films portrayed the idea of a ? war, in response

A

Dixon (2004)

- 9/11 films portrayed the idea of a just war, in response

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5
Q

? (200?)

- ? and ? is intertwined in ? settings: ? films on the ?; Hollywood and ? support

A

Dodds (2005)

- Film and Government is intertwined in agenda settings: Soviet films on the revolution; Hollywood and Pentagon support

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6
Q

? (200?)

  • ? sees US-Uk co-operation with ? ?
  • Daniel Craig meeting with ? as bond blurs the ? and ?
A

Dodds (2006)

  • Bond sees US-Uk co-operation with CIA Felix
  • Daniel Craig meeting with queen as bond blurs the real and reel
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7
Q

> (200?)

  • ? films are fought ?: ?, and then ? (fought and then thought)
  • Film orientates global ? on ?, to give citizens greater ? the state is strong
A

Dodds (2007)

  • American films are fought twice: battlefield, and then film
  • Film orientates global threats on America, to give citizens greater reassurance the state is strong
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8
Q

? (200?)

  • Film crafts a ? ? for military power: ? using ? wars
  • ? aided USA arguments of ? war by reducing to ?
A

Dodds (2008)

  • Film crafts a visual language for military power: Regean using star wars
  • LOTR aided USA arguments of righteous war by reducing to binary
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9
Q

? (199?)

  • Film provides a ? picture of ?
  • Power of ? media demonstrated in failed ?, and ? Gulf war
  • Nazi ? in film
A

Gregg (1999)

  • Film provides a distorted picture of geopolitics
  • Power of coercive media demonstrated in failed Vietnam, and successful Gulf war
  • Nazi iconography in film
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10
Q

? (200?)

- ? goes beyond ?, allowing audience to feel ?

A

Higgins (2008)

- Spectacle goes beyond reality, allowing audience to feel escapism

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11
Q

? and ? (199?)

- American films focus on the ? scale of ? ?, to better convey messages to ?

A

Kennedy and Lukinbeal (1997)

- American films focus on the intimate scale of everyday families, to better convey messages to citizens

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12
Q

? (201?)

- ? life is linked back to political ?, through ?

A

Kuus (2010)

- Everyday life is linked back to political climates, through film

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13
Q

? and Zonn (200?)

- Film is a ? ? that citizens ? themselves in the heavily ? world

A

Lukinbeal and Zonn (2004)

- Film is a social cartography that citizens situate themselves in the heavily represented world

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14
Q

O ? et al (200?)

- ? is apart of state ? to ? ?

A

O Toal et al (2008)

- Film is apart of state apparatus to steer culture

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15
Q

? and ?ton (200?)

- ? movies provide the ? and ? to make sense of ?

A

Power and Crampton (2007)

- Hollywood movies provide the language and imagery to make sense of geopolitics

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16
Q

? (200?)

  • ? and ? collide, such as ? re-namings ? after ?? names
  • ? fiction allows ? possibilities and ? to be considered
A

Weldes (2003)

  • reality and fiction collide, such as NASA re-namings expeditions after Star Trek names
  • Science fiction allows alternative possibilities and solutions to be considered
17
Q

? (200?)

- viewers feel they’ve ? geopolitical ? after watching a film

A

Zoonen (2007)

- viewers feel they’ve gained geopolitical knowledge after watching a film

18
Q

? (200?)

- ? dominates as it is a magnet for ?, and has ? power

A

Austin (2002)

- Hollywood dominates as it is a magnet for talent, and has economic power

19
Q

? (198?)

- Film has ? significance that we ? pick up on

A

Bordwell (1989)

- Film has ideological significance that we unconsciously pick up on

20
Q

? (200?)

- ? forged the American identity, and ? played apart of national identity

A

Coyne (2008)

- Mythology forged the American identity, and Hollywood played apart of national identity

21
Q

? (200?)

- ? is a ? politic, playing ? in public ?

A

Giroux (2002)

- Film is a cultural politic, playing ideologies in public conversation

22
Q

? (200?)

  • ? ? epics of the post war period, where ? were mistreated by ? overlords, and rescued by ? ? men
  • ? takes solace in defending the ? and ? within
A

Flint (2006)

  • Roman biblical epics of the post war period, where women were mistreated by foreign overlords, and rescued by white Western men
  • Nationalism takes solace in defending the motherland and females within
23
Q

? (199?)

  • lone ? ? of ? give him ?
  • ? critique of films attack the ? of white ?
A

Kellner (1995)

  • lone camera angles of Rambo give him individualism
  • Feminist critique of films attack the supremacy of white males
24
Q

? (200?)

- ? is important, as some films ? themselves to ideas (?, ? effects) better

A

Lacey (2000)

- Genre is important, as some films lend themselves to ideas (geopolitics, special effects) better

25
Q

Mc? and ? (200?)

- Possible to? old films with a ?lens

A

McCrisken and pepper (2005)

- Possible to re-read old films with a 9/11 lens

26
Q

? and ? (199?)

- Creeping ? of 60s ?: ? and slave ?; ? side Story and ? indeiffernce; To kill a ? bird and condemning deep south ?.

A

Ryan and Kellner (1990)
- Creeping leftism of 60s Hollywood: Spartacus and slave uprising; West side Story and racial indeiffernce; To kill a mocking bird and condemning deep south racism.

27
Q

? (200?)

- The ? exists in media: ? owned by ? Electric, a US ? contractor

A

Turse (2008)

- The MIC exists in media: NBC owned by General Electric, a US defence contractor

28
Q

? (200?)

- ? is crucial to conveying geopolitical ? – US ? and ?; ? of military tech and soldiers

A

hughes (2007)

- Visualty is crucial to conveying geopolitical power – US Shock and Awe; marches of military tech and soldiers

29
Q

Macdonald, Dodds, and Hughes (2010
= - Walter ? (1969) saw ? production, and the ? produced ?, as a tool for ?. Sigfried ? would describe film as being able to create an ? ?, where out of ? (such as ? war) came an illusion of ? (?)

A

Macdonald, Dodds, and Hughes (2010
= - Walter Benjamin (1969) saw film production, and the mechanically produced art, as a tool for Facism. Sigfried Kracuer would describe film as being able to create an optical fairyland, where out of choas (such as Iraq war) came an illusion of ordr (CNN)

30
Q

? (200?)

- West is ?-centric: perceive life through ?

A

Rose (2007)

- West is occular-centric: perceive life through image

31
Q

Phillips (2000)

- ? has a ? formula that we come to expect, and it brings us ? when this happens.

A

Phillips (2000)

- Genres has a predictable formula that we come to expect, and it brings us pleasure when this happens.

32
Q

? (201?)

  • ?: convince others your culture is also their culture
  • ? achieve this through ?
A

Dittmer (2010)

  • Hegemony: convince others your culture is also their culture
  • Americans achieve this through film

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