capitulo 4_cinema e ri

8/11/2019 Capitulo 4_cinema e Ri

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International Relations atthe Movies: Teaching and

Learning about InternationalPolitics through Film

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Abstract: For mainstream Political !cience& *+o+ular culture, is still not considered -orth. o/ serious

investigation !imilarl.& the idea o/ using movies as a +edagogical tool has remained at the

margins $evertheless& /ilm can be a valuable means o/ teaching universit. students about

+olitics and international +olitics in +articular This +a+er identi/ies /our distinct -a.s o/ using

movies as a teaching tool: the /irst a++roach uses /ilm to +ortra. historical eventssuch as the

)old ar& and the second utili2es /ilm to debate s+eci/ic issuesin international +olitics such as

terrorism or genocide The third a++roach eamines movies as cultural nar-ratives4 eg anti5

#mericanism in Tur6e. 4& -hile the /ourth uses /ilm to e+lain and criti5ci2e IR theories7here& /or

eam+le& Post5Modernism is discussed -ith the hel+ o/ the movie

Pulp Fiction The article eamines the strengths and -ea6nesses o/ using /ilm in

the IR classroom in general and illustrates each o/ the /our a++roaches b. using

eam+les /rom movies

Key words: international relations& learning& theor.& /ilm& visual turn

I stand upon my desk to remind myself that we

must constantly look at things in a different way.

79ohn eating in Dead Poets ociety

I$TR;(lei6er& ?001 in the /ield o/ IR& ver. /e- +eo+le -ould re/ute that our

6no-ledge about the -orld is +redominantl. sha+ed b. the +o-er/ul visual

re+resentations in ne-s+a+ers and television "ven the cinema has become& or

ma.be al-a.s has been& a +otent /orm o/ +olitical communication $onetheless& the

idea o/ using +o+ular art in the /orm o/ /ilms to e+lain@understand and teach in5ternational +olitics is still at the margins in IR This is sur+rising as the idea o/ using

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/ilm in the classroom is b. no means ne- or uncommon 7Cane. ?000: ?38 ;ne

o/ the /irst scholars to note the +ossibilities o/ /ilm in the teaching o/ +olitical sci5

ence -as 9ohn ( Millett 71=B Dust a/ter the !econd orld ar >ut even this

earl.& Millet 71=B: E? reali2ed that *GtHhere is little advantage in em+lo.ing a /ilmsim+l. to +hotogra+h a classroom lecture, !o there is more to it than Dust +lugging

in the A)R or rather the (A( +la.er to /ill some o/ the time o/ the lesson and let

the /ilm do the teaching !ince the late 1=0s others have also noted the +otential

o/ the idea In the 1=B0s Patric6 ;,Meara claimed that *the use o/ the /ilm is not

onl. a challenging ne- direction -ithin +olitical science& but also one o/ vital /uture

rele5vance and +romise, 7;,Meara& 1=B: ??0 #nd t-o .ears later& )harles

Funderbur6 71=B8: 111 -rote that *GtHhe use o/ /eature5length motion +ictures in

the classroom is a teaching resource o/ considerable +otential /or +olitical

scientists, *)inematic IR, has become increasingl. +o+ular 7Colden& ?00 and itis no- /irml. established that *+o+ular culture has much to o//er to our

contem+orar. understanding o/ in5ternational relations, 7(ebri& ?00E: EE3 #s -e

-ill see& there are a number o/ scholars -ho have s+eciali2ed in the subDect& and

among these& there are some -ho /ocus s+eci/icall. on the o++ortunit. o/ using

+o+ular art in the teaching o/ inter5national +olitics

The article -ill be structured as /ollo-s: The /irst t-o +arts -ill revie- the eisting

literature on /ilm and IR and eamine some o/ the advantages and disadvantages o/

using /ilm and movies as a method o/ teaching in general This -ill then be /ollo-ed b.

an overvie- o/ the di//erent -a.s o/ using /ilm #lthough the +ossibilities o/ using

movies as a +edagogical tool /or teaching universit. students are nearl. limitless& -e

have identi/ied /our maDor -a.s in -hich /ilms have been used in the +ast: the -a.s o/

events! issues! culturesand theories #lthough this 6ind o/ classi/ication is arti/icial and

there are obviousl. overla+s& -e believe that it can nevertheless be hel+/ul /or

teachers in /raming their o-n teaching obDectives #s -ill be made clear in the article&

the /our a++roaches di//er -ith regard to their understanding o/ +olit5ical science: The

/irst t-o a++roaches are re+resented b. scholars such as Robert %regg 71==8& L.nn

u2ma and Patric6 Cane. 7?001 and are in/luenced some-hat b. a more +ositivistvie- o/ International Relations 7IR& -hich believes that a real -orld eists -hich can

be investigated /rom the outside -ith *scienti/ic, means in order to establish an

unbiased and real truth The /irst a++roach /ocuses on the e5+lanations o/ certain

historical eventssuch as the )old ar -hile the second a+5+roach eamines s+eci/ic

issues o/ IR such as -ar& terrorism or genocide Follo-ing this& the article -ill

investigate t-o more +ost5+ositivist understandings o/ using movies to teach

international +olitics These a++roaches& eem+li/ied b. scholars such as 9utta eldes

7?003 and ).nthia eber 7?00E& are based on the assum+5tion that inter5subDective&

not obDective& 6no-ledge is the dominant /orm o/ dis5course Cere& the +a+er brie/l.

outlines the +otential o/ /ilm /or the understanding

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o/ culturesand then /ocuses on IR theoriesb. using the /ilm Pulp Fictionas an e5

am+le -ith -hich to illustrate and critiue +ost5modern a++roaches to IR

#C J I !""K TC" #(A#$T#%"! ;F

tiall. bene/it /rom the use o/ /ilm in the IR classroom For eam+le& it is -idel. ac5

ce+ted as scienti/ic 6no-ledge that the human memor. stores in/ormation in both a

visual and an oral /orm and that a combination o/ both cognitive ca+acities hel+s

+eo+le access& learn and then remember in/ormation 7)ham+ou& 1===

u2ma@Cane.& ?001: 3: *!tudents retain 10 o/ -hat the. read& GbutH E0 o/ -hat

the. see and hear, 7!tice& 1=8B& cited in Po-ner and #llendoer/er& ?008: BB e have

to acce+t the contem+orar. student,s a//init. /or visual stimulation: the. get theirin/ormation and ideas about the -orld in a visual /ashion through television and the

internet and have been sociali2ed through all sorts o/ visual channels It is there/ore

inevitable that the +erce+tions and in/ormation /rom /ilms enter the class5room -hether

-e li6e it or not 7Lee& 1==0: = It seems that .oung +eo+le in gen5eral and students in

+articular have become inherentl. good at dealing -ith visual material It there/ore

ma6es sense to consider the use o/ such material in class in order to /acilitate the

teaching and learning o/ international +olitics

For Robert %regg 71===: 1?= movies and /ilms hel+ students learn and

enhance their 6no-ledge about international +olitics as the. constitute a *-indo-

on the -orld, !ho-ing a movie in class +rovides a common re/erence +oint to

-hich all +artici+ants can re/er in order to ma6e their arguments& +oints and vie-s

clear /or the other members o/ the class 7!achleben@Nenerall& ?00? #/ter seeing

the movie& it can act as a 6ind o/ em+irical case stud. as ever.one in the class is

then /amiliar -ith it& and thus it can +rovide the *hoo6, -ith -hich to o+en a class

discussion 7aal6es& ?003: 1E

#t the same time /ilms can ma6e challenging abstract conce+ts& ideas and theo5ries

such as deterrence& terrorism or neo5liberalism more concrete& thereb. ma6ingstudents *see, and understand the issues involved 7Lovell& 1==8 ;,Meara& 1=B: ?1=

!tudents get an insight into issues -hich the. have little e+erience o/ and -ould

other-ise not encounter in their normal li/e 7aal6es& ?003: 1=41B0 "vents seem

more *real, and relevant in movies as the. can sho- events and issues more vividl.

than the +rinted -ord 7Cane.& ?000: ?0 u2ma@Cane.& ?001: 3E The. dramati2e an

event or idea b. bringing a human /ace to even the seemingl. most mundane issues in

international +olitics 7Cartlaub& ?001: 31 %iglio& ?00? # movie can lead to a

+ersonal identi/ication -ith a +olitical actor and hel+ students to ste+ into their shoes

Thereb. the. are led to em+athi2e& consider the sco+e o/ ma5noeuvre the actors

involved ma. have and re/lect on the choices as -ell as on the

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normative and ethical im+lications at sta6e in com+le circumstances 7%regg&

1==8: E aal6er& ?003: 1EB

This +ersonali2ation& this dramati2ation and this 6ind o/ visual con/rontation

-ith +olitical and sometimes violent issues and theories dealing -ith -ar and+eace in5evitabl. create a certain level o/ emotion among students 7)racium&

?00 For one& these emotions lead to a higher level o/ attention and some

have argued that emo5tions have a large in/luence on students, learning abilit.

as the. hel+ im+rint in/or5mation in their memor. 7u2ma@Cane.& ?001: 3E

These emotions evo6e enthusiasm& encourage class +artici+ation and&

-ithout doubts& have the +otential to +rovide the means /or animated class

debates and discussions 7Funderbur6& 1=B8: 111 Leib& ?000: 1

#s students are /amiliar -ith movies and are used to tal6ing o+enl. about

/ilms& movies can also -or6 as a *levelling device, bet-een the teacher andthe students 7)handler@#dams& 1==B: 1? The. seemingl. readDust the +o-er

structures and re5duce the stringent hierarch. -hich can im+ede class

discussion and +rivilege the learning over the teaching com+onent The

+ositive e//ect o/ /amiliarit. -ith movies is /urther underlined b. the use o/

science /iction movies as meta+hors /or +olitical events& issues or theories In

contrast to clearl. +olitical /ilms -here students ma. be more reserved about

their comments& students seem to be more com/ortable in +artici+ating in a

discussion and h.+othesi2ing about the meaning o/ a meta+hori5cal movie as

there is no right or -rong inter+retation 7)oo+er& ?00? ebber& ?00E: 381

PR;>L"M! #$( )C#LL"$%"! ;FT"#)CI$% IR #T TC" M;AI"!In contrast to the advantages and bene/its mentioned above& there are also a num5ber

o/ di//iculties and obDections to using /ilms in the classroom -hich need to be

discussed and ta6en into consideration Firstl.& there are technical and logistical is5

sues -hich need to be ta6en into consideration -hen +lanning such a course For

eam+le& the seminar room has to be suitable /or sho-ing movies and all the nec5

essar. technical eui+ment 7(A( +la.er& +roDector& louds+ea6ers& etc has to be ar5

ranged and -or6ing be/ore things can get on the -a. #lthough this ma. sound

obvious& these as+ects are easil. underestimated as -e /ound out& /or eam+le& that

some co+. +rotection so/t-are on older (A(s +revented them /rom being +la.ed via a

la+to+ ;ne should also be a-are o/ co+.right as+ects and the legal uestions o/

+rivate@+ublic +er/ormance -hich ma. arise through sho-ing the movie in class

#+art /rom these technical and administrative di//iculties& there are a number o/

other 7more /undamental uestions -hich arise -hen considering the use o/

movies in the IR classroom For eam+le there is the *trade5o// bet-een the time

s+ent -atching a /ilm and the instructor,s abilit. to cover the course content,

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7u2ma@Cane.& ?001: Teachers have to decide -hether it is -orth it to sho-

the -hole /ilm in class& -hether to ma6e students -atch the /ilm outside o/ class

or -hether to sim+l. sho- short cli+s or scenes to highlight certain events& issues

or theories 7!achleben@Nanerall& ?00?: 3 ;n the one hand one could argue thatthere is +robabl. a lot o/ irrelevant material in a -hole movie -hich does not hel+

in the understanding o/ the event& issue or theor. and there/ore -astes valuable

discussion time 7;,Meara& 1=B: ?1E ;n the other hand& ho-ever& b. onl.

sho-ing certain cli+s& the instructor is e+licitl. +re5selecting certain issues and is

there/ore reducing the amount o/ critical thin6ing the students have to do to

identi/. as+ects that the. consider to be o/ im+ortance

;n the student level& movies can have t-o negative e//ects -hich both

re+resent the etremes o/ the s+ectrum ;n the one side the. ma. become little

more than +assive& merel. consuming observers& as students are used to seeingmovies and /ilms as entertainment and as a -a. to rela /rom the stresses o/

universit. li/e 7;,Meara& 1=B: ?1= aal6es& ?003: 1E8 ;n the other hand

students can become too emotionall. involved -ith the to+ic o/ the /ilm !ome

authors have +ointed out that etreme emotions such as /ear and anger can

reduce the vie-ers, attention and hinder the learning +rocess& as the. +revent

critical and thought/ul re/lections on the subDect 7Cane.& ?000: ?1 #s #llen

71==8 +oints out in this res+ect& it is im5+ossible to guess -hat students have

been through in their li/e and the emotional baggage the. bring to class It thus

might be use/ul to discuss certain as+ects o/ the /ilm -ith the students in advance

or +re+are -ith them a common list o/ guiding uestions or issues -hich -ould

hel+ them to /ocus on the original research inter5est -hile -atching

;ne o/ the main arguments against using movies in the IR classroom is that the.

are sim+l. not made /or teaching IR ith res+ect to IR theor. %regg 71==8: 10 ar5

gues that movies do not e+licitl. cham+ion a certain theor. #t the same time cer5tain

theoretical com+onents are /ound more o/ten than others For eam+le& *realist,

assum+tions have been ver. dominant in movies about international +olitics !imi5larl.&

movies generall. onl. deal -ith certain things -hile the. almost totall. neglect otherver. im+ortant issues o/ international +olitics 7%regg& 1=== *)on/lict sells,: movies

+redominantl. /ocus on eciting things such as -ar or a violent crisis rather than on

international economics& international la- or international organi2ations de5s+ite their

vital im+ortance /or international +olitics "ven -hen /ocusing on one +o5litical issue

such as -ar& genocide or terrorism& movies are mainl. about death& destruction&

heroism and +h.sical and +s.chological anguish The. do not tend to e+lore the

causes o/ the con/lict or the conseuence /or international +olitics *The result is a

+icture o/ the +u22le o/ international relations /rom -hich im+ortant +ieces are missing

or seriousl. underre+resented, 7%regg& 1==8: = Movies there/ore have to be selected

care/ull. and +re+ared in accordance -ith the course obDectives

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# number o/ scholars have argued that man. movies are not reall. suited to teach

students about international +olitical events as the. oversim+li/. and revise histor. and

thereb. give a distorted vie- o/ international +olitics 7c/ %regg& 1===: 1?= Cistorical

/igures and events are reinvented to /it the +lot o/ the movie and *GmHore o/ten than not

Coll.-ood gets it all -rong !tudents need to be reminded that the movie industr. is in

the entertainment business and not in the business o/ manu5/acturing historical

documents, 7%iglio& ?00? #s /ilms rarel. last longer than t-o and a hal/ hours& the.

have to condense histor.& the. heighten the drama& and the. +ortra. individual

characters as being re+resentative o/ a -hole categor. o/ +eo5+le "ver. /ilm is a

necessar. sim+li/ication and condensation o/ events no matter ho- com+le and

intricate the stor.line ma. be 7>erenson& 1==: E1

#ccordingl. movies are inherentl. biased and al-a.s e+ress a clear and distinct

vie-+oint no matter ho- value5/ree the. +resent themselves to be 7;,Meara& 1=B:

?1 #+art /rom a +ersonal& ma.be aesthetic& bias& there is also a certain more gen5

eral estern or "urocentric bias as most movies used in IR classes are li6el. to have

been +roduced for the "uro+ean or #merican mar6et as -ell as "yestern /ilm stu5

dios in Coll.-ood& >erlin or London 7%regg& 1==8: B #s -ill be seen in the /ol5lo-ing

+arts o/ the article& other authors& ho-ever& believe that subDectivism is not so much a

+roblem but a bene/it For eam+le& Lee 71==0: 10 argues that *GiHn some cases&

even de/ects can become +ositive resources /or teaching, #s -e -ill sho- in sections

three and /our& o+enl. uestioning and criticall. anal.sing the bac65ground behind a

certain +ers+ective or narrative 7here: culture or theory is an im5+ortant thing /or

students to learn There/ore& highlighting certain *inaccuracies, or biases can lead

students to criticall. uestion the issues raised in the /ilm and e5amine the

/undamental and o/ten im+licit +o-er structures o/ the movie as -ell as those in

international +olitics

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course but is commonl. used at all levels as a device /or su++lementing the

normal seminar readings Most o/ the time this includes documentaries on

historical time +e5riods -hich sha+ed -orld +olitics such as the /amous and

#cadem. #-ard -inning documentar. Fog of #aron the events o/ the )old arand $earts and %inds& #in-ter oldier! orir& 'o ir& /or the Aietnam ar

# little bit more adventurous and there/ore /acing the threat o/ being called un5

scienti/ic is the use o/ +o+ular movies rather than documentaries !uch 7+artiall. in5

vented stories ma. have the advantage o/ automaticall. avoiding the sus+icion o/

being identi/ied as im+artial& correct& or obDective 7histories $onetheless& ;liver

!tone,s a-ard5-inning movie (F)7on the assassination o/ President 9ohn F enned.

in (allas is a +rominent eam+le o/ a highl. acclaimed movie +ersuasivel. narrat5ing

a *correct histor., Net& +roviding the audience -ith high ualit.& accurate his5torical

in/ormation is not the +rimar. aim o/ such /ilms #s +o+ular /ilms are made /orentertainment and /inancial success at the bo o//ice& the choice and availabilit. o/

themes and histories in the events a++roach that can be discussed in class are

some-hat limited as -ars and con/licts dominate much o/ the historical /ilmma6ing

7%iglio& ?00E %ianos& 1==8 Pollard& ?00? In this contet& it becomes uite obvi5ous

that movies also serve +olitical +ur+oses and either re/lect a dominant national

inter+retation o/ an event or are used b. the +olitical elites to create a certain nar5rative

o/ an event 4 in both -a.s& the instructor has to be a-are o/ the /act that the events

a++roach has a heav. subDectivist bias For eam+le& des+ite their aesthetic ualit.&

the Aietnam movies*pocalypse 'ow& Platoon!and Full %etal (acketare b. their ver.

nature +artial and over5eaggerated In order to +er/orm a use/ul /unc5tion& -e hence

argue that event movies -or6 best i/ the. are embedded -ithin an anal.tical or

theoretical /rame-or6 For eam+le& one could use Roger (onaldson,s /ilm +hirteen

Days to introduce students to the historical circumstances o/ the )uban Missiles

)rises in 1=?& the height o/ the )old ar The movie is& ho-ever& solel. a

narrative o/ that event 4 the !oviet +ers+ective is totall. absent and +er/orms the

/unction o/ the *;ther, In order to esca+e the *subDectivit. tra+, o/ the events a+5

+roach& a more /ruit/ul -a. o/ turning the movie into a valuable contribution to be usedin the classroom is to embed it -ithin an anal.tical /rame-or6& e g deterrence theor.

and %raham T #llison,s and Phili+ ( Oeli6o-,s 71=== ground5brea6ing anal5.sis *The

"ssence o/ (ecision,& in order to gras+ the su+er+o-er5logic o/ the )old ar In

addition to documentaries and movies& one might even turn to /ictions& -hich& o/

course& never have the intention to serve *visual histor. telling,& but -hich nonetheless

do so # rather eotic eam+le -hich nicel. adds to +hirteen Daysor +heFog of #ar

is tar +rek ,I 7c/ eldes& 1===& a science /iction movie about the Iron )urtain

coming do-n in outer s+ace in the ?3 rdcentur. The 1==1 movie also lends itsel/ to a

social5constructivist /rame-or6 o/ anal.sis b. investigating the 7de5con5struction o/

enem. images 7c/ eller& 1==? Fiebig5von Case@Lehm6uhl& 1==B

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;bviousl. there is a clear overla+ bet-een eamining historical events and

anal.sing issueso/ im+ortance /or international relations #s (an Lindle. 7?001: 3

+oints out& he not onl. uses the /ilm classic Dr. trangelove or $ow I earnedto top

#orrying and ove the /om" to teach about the histor. o/ the )old ar buthe alsouses it *as a s+ringboard to discuss deterrence& mutuall. assured destruc5tion& +re5

em+tion& the securit. dilemma& arms races& relative versus absolute gains concerns&

)old ar mis+erce+tions and +aranoia& and civil5militar. relations, and +laces these in

their historical contet in the +rocess There are a number o/ schol5ars -ho /ollo- this

model and choose */ilms -hich dealt -ith ver. s+eci/ic +olitical themes, 7!anche2&

1=B: = to teach international +olitics courses !ome& such as Robert %regg 71==8&

1===& /ocus on issues in *International Relations, -hile oth5ers& such as u2ma and

Cane. 7?001& Cane. 7?000 or %erner 71=8858=& eam5ine issues in *Foreign Polic.,

Cere %regg 71==8 /ocuses on issues such as sovereignt. nationalism civil stri/e

subversion decision5ma6ing -ar economic in5terde+endence and develo+ment

ethics and international la- the clash o/ cultures and the domestic roots o/ IR In

contrast u2ma and Cane. 7?001 /ocus on Mc5)arth.ism deterrence the >erlin all

%lasnost )overt ;+erations +residential and congressional +o-ers in /oreign +olic.

and !tate (e+artment and Foreign !er5vice ;//icers& as -ell as the ar Po-ers #ct

There is a vast number o/ di//erent issues -hich +la. an im+ortant role in movies and

at the same time are im+ortant issues in international +olitics For eam+le& the to+ics

o/ genocide and /orced dis+lacement could be illustrated -ith the hel+ o/ $otel

Rwanda! tar +rek I0 or +he )illing Fields. !ome /ilms even eem+li/. t-o or more

to+5ics& e g /lood Diamond& -hich is suitable /or the discussion o/ ne- -ars& the role

o/ +rivate militar. com+anies& and the e//ectiveness o/ ne- /orms o/ governance such

as the *imberle. Process, to control the e+ort o/ con/lict diamonds ;ne issue o/ in5

ternational +olitics that has so /ar been neglected but seems +redestined to be the

subDect o/ IR /ilm classes is terrorism 7>loggs@Pollard& ?00 ;ne o/ the ver. /irst

movies to deal -ith the to+ic o/ terrorism -as #l/red Citchcoc6,s /ilm a"otagein 1=3&-hich -as the /ilm version o/ 9ose+h )onrad,s 1=0B boo6 +he ecret *gent7(avies&

?003 In a /airl. earl. tet on the to+ic& alter Laueur 71=8B& one o/ the lead5ing

terrorism e+erts& eamined the +otential o/ gaining insight /rom /ilms on terrorism Ce&

ho-ever& -as sce+tical about the genre& believing that it had little /uture in the /ilm

industr.& and more recentl.& others have also uestioned the use o/ movies in teaching

about terrorism 7Miller& ?00 $evertheless& -e believe that there is a vast number o/

other /ilms -hich could be used to highlight and re/lect u+on some o/ the issues

surrounding terrorism 7c/ !locum& ?00E Frhlich et al& ?008 !+encer& ?008

In sum& the main +roblem -ith regard to the eventsand issuesa++roaches is that

students o/ten ta6e documentaries as *correct histories,& ie as thenarrative o/ a +ar5

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alit. in -hich the images +rovide meaning to a +articular historical vie- !ee& /or

eam+le& ).nthia eber,s 7?00 anal.sis o/ the construction o/ #merican identit. and

third a++roach is one o/ cultural re+resentativeness I/ -e can gain access to diverse

cultural narratives via a su++lementar. reading o/ these images& ie b. biased but

nonetheless valuable insiders, vie-s o/ histor.& ho- do -e 6no- that the indi5vidual

+ers+ective +rovides us -ith a better understanding o/ collective conce+ts such as

cultures& times& or +eo+lesQ In short& ho- can -e +rotect ourselves /rom anal.sing

com+letel. etreme& absurd or *invalid, storiesQ Is there a criterion /or un5truthQ ;/

course& the radical constructivist ans-er is *e cannot and -e need notK, #lread.

+osing such uestions is -rong this creates arti/icial categories through -hich -e

7seemingl. se+arate the valid /rom the non5valid& truth /rom non5truth& or science /rom

non5science It is eactl. the belie/ in the +rinci+led eualit. o/ truths and the bene/it o/*the margins, -hich -ill tell us much more about histories and the +o-er5relations

-ritten into narratives than the mainstream or the broader /ocus Co-ever& there is

also a more moderate& slightl. +ositivist5li6e +ossible ans-er: Ta65ing into account the

reaction o/ the audience -ill hel+ us to better understand the social5cultural contet

Most /ilms touch +eo+le emotionall. as the. re/lect cultural values and historical

meanings& ie a +articular image o/ truth 7c/ (en2in& ?000: ? Cence& the more a

/ilm hits an audience,s nerve& the greater its success at the bo5o//ice -ill be #nd the

more success/ul a /ilm is 7measured in bo o//ice ta65ings& the higher the +robabilit.

that it is a re+resentative 7rather than a marginal nar5rative o/ the identit. or values o/

a +articular countr.

# good eam+le o/ a /ilm -hich illustrates an interesting and ver. +articular cul5tural

narrative is ,alley of the #olves Ira17herea/ter AI2-ith three million vie-ers in its

/irst t-o -ee6s& Tur6e.,s most success/ul movie +roduction o/ all times The ?00 /ilm

about the

the 3thero/ the Tur6ish nation1#s ashington and #n6ara have been strategic allies

/or over E0 .ears 7Redmond@Pace& 1==: 38& the success/ul domestic rece+tion o/

the 3therimage is +u22ling hilst an.pos-itivist -ould critici2e that AI is 4 a+art/rom the lin6ages to the #bu %reibh +risonscandal 4 notan obDective movie about the

*real, criminals in Ira 7the dictatorial /aath regime o/ !addam Cussein but tells an

imagined and hence */alse, stor. b. +ortra.ing the

conceited criminals lusting /or +o-er& the post-positivist-ould +oint out that eactl.

such inter5subDective or seemingl. *absurd, vie-s tell us valuable *truths, about Tur6e.,s

inter+retation o/ the +ost5=@11 events AI hence hel+s us to understand the

contem+orar. Tur65ish mind5set The negative image o/ the

-hat the ma5Dorit. o/ the Tur6ish +eo+le +erceive as an *arrogant, unilateral +olic. o/

the

Together

=? Pers+ectives Aol 1B& $o 1 ?00=


11/21


-ith other eam+les /rom Tur6e.,s +o+ular literature 7Tur6e. Thus! popularculture 7here movies can indeed be a valuable tool /or stu5dents and researchers /or understanding the role o/ +olitical narratives in interna5

tional +olitics and changes in politicalcultures The /ilm -as -ell received also

among the Tur6ish +olitical elite For eam+le& >Slent #rinc& the President o/ the

Tur6ish $ational #ssembl.& +raised it -ith the -ords *In a -ord& it is great It /ol5

lo-s the historical /acts to the letter,?There/ore& one might also anal.se -hether

the constructions in +o+ular discourse constitute *realities, and eventuall. a//ect

Tur6ish /oreign +olic. +re/erences to-ards the

stein@eohane& ?00B: ?B

ithin this third a++roach movies could be used to com+are cultural narrativesand dis+la. changes over time For eam+le& the change o/ the

the use o/ torture be/ore and a/ter =@11 is dis+la.ed in "d-ard O-ic6,s 1==8 movie

+he iege 7c/ il6ins@(o-ing ?00?& -hich clearl. condemns torture& and the

highl. +o+ular

unit o/ the

torture is not a le5gitimate means to +revent terrorist attac6s 7"ric6son& ?008

Moreover& the sole e5am+le o/ one event 7here the orld ar II battle over the

9a+anese island I-o 9ima being com+lementaril. +ortra.ed /rom t-o vie-+oints

in +o+ular /ilms is that o/ )lint "ast-ood,s movies Flags of our Fathers 7the

+ers+ective and etters fromIwo (ima 7the 9a+anese angle

T"#)CI$% IR TC";RN ITC TC" C"LP ;FM;AI"!The +receding +arts o/ this article have eamined the +ossibilities o/ using /ilms to

teach certain events! issues!or culturesin IR In this section -e -ant to outline a

/ourth a++roach and eamine the +otential o/ using movies to teach IR theories

This a++roach has been introduced b. ).nthia eber 7?001& ?00E& -hoconnects the illustrative as+ect o/ movies -ith a critical +ers+ective ;thers have

/ollo-ed this in5terest in combining +o+ular culture -ith IR theories For eam+le&

Culsman and Mitchell 7?00= use the movie +he 7odfatherto illustrate di//erent

#merican /oreign +olic. +ers+ectives& and Ruane and 9ames 7?008 use ord of

the Ringsto rela. the theoretical debates in IR (ue to a lac6 o/ s+ace& -e have

decided to /ollo- ).nthia eber,s a++roach and concentrate in the /ollo-ing on

one theor. +er /ilm& in our case +ost5modernist theor. and Pulp Fiction& rather

than a++l.ing a range o/ theo5ries to the same movie

eber eamines *ho- IR theories a++ear to be true, 7eber& ?001: ?81 and

anal.ses ho- the /ilm and the theor. ma6e sense o/ the -orld and -hat the. both

Pers+ectives Aol 1B& $o 1?00= =3


12/21

!T"F#$ "$%"RT& #L"'#$("R !P"$)"R

+ortra. as normal or deviant in their -orlds #lthough movies -ere never intended

as IR theor. teaching tools& the. generall. 7e+licitl. or im+licitl. ma6e use o/ the

same meta5theoretical assum+tions about the -orld and the nature o/ the actors

in it as IR theories Films +ortra. a certain inter+retation o/ ho- the -orld -or6s4 /or eam+le& the. /ollo- a logic o/ conseuentialit.& a logic o/ a++ro+riateness or

both 7c/ Risse& ?000 March@;lsen& 1=8=& 1==8 ;ne o/ the main strengths o/

such an a++roach is that students are */orced, to a++l. the theories to a much less

sel/5evident obDect o/ stud. Theories are scienti/ic constructs& and as such the.

can be much better understood and their e+lanator. strengths and -ea6nesses

can be much better uncovered i/ the. are a++lied to a -orld -hich is as obviousl.

arti/iciall. constructed as the theor. itsel/& such as the -orld -e encounter in a

movie To attain a better gras+ o/ the theories, main assum+tions and to become

able to criticall. evaluate their ontological or e+istemological under+innings& it ishel+/ul to re5direct the centre o/ attention a-a. /rom the *usual sus+ects, 7em+ir5

ical +olitics and +olicies to a rather un/amiliar setting 7the -orld o/ /iction This

could lead to a dee+er understanding o/ and more critical thin6ing about the the5

ories, +otential and limits In our vie-& a good starting +oint is to identi/. in ad5

vance the res+ective theor.,s main assum+tions in order to hel+ students /ocus on

the selection o/ scenes -hich dis+la. the diverse *bits and +ieces, o/ the theoret5

ical a++roach

"'#MPL": P


13/21


ture or inter-te8tual7de+endent on a +articular discourse Thus& the. are convinced

that a /inal version o/ truth 4 a so5called master-narrative7c/ L.otard& 1=8 4 can5not

and should not eist Co-ever& this does not mean that +ost5modern theor. is totall.

indi//erent to truth or that it has an arbitrar. attitude to-ards science Rather& it is

a-are that knowledgeis al-a.s lin6ed -ith powerand 4 in order to be regarded as

*valid, 4 must con/orm to the ruling societal canons o/ meaning& -hich de/ine -hich

thoughts are admissible and -hich are not 7!teans@Petti/ord& ?00E: 130 !mith& 1==B:

181 In other -ords +ost5modern theories are h.+er5critical o/ an. accounts that

+resent themselves as *obDective, -hilst dismissing or ecluding alternative ac5counts

as trivial& marginal& or */alse, 7c/ (ie2& ?00 Their common concern is to un5dermine

the hegemonic discourses b. e+osing the tetual inter+la.s and hidden assum+tions

through -hich +o-er relations are sustained and 7re5+roduced 7c/ (errida& 1=B

This method is called deconstruction7(ie2& ?00: the reading o/ a tet,s sense 7itscontents and linguistics and the reading o/ the tet,s hidden mes5sage& ie the so5

called knowledge9power5neus This includes anal.sing -hat is -rit5ten and -hat is

not said or -ritten 7)am+bell& ?00B: ?14?18 as the latter ma. have become

triviali2ed or silenced b. the use o/ *binar. o++ositions, such as sel/@other&

central@marginal& truth@/alsit.& or science@non5science 7!teans@Petti/ord& ?00E: 130 #s

*there is al-a.s more than one reading o/ an. tet, 7!mith& 1==B: 18?& the anal5.sis

usuall. also involves a re5inter+retation o/ the events /rom an 4 according to the

mainstream 4 unconventional or dissident+ers+ective that is incom+atible -ith the

dominant -a.s o/ re/erence 7(ie2& ?00

In the /ollo-ing -e -ant to consider this theoretical understanding in the movie

Pulp FictionPulp Fiction 7PF is a 1== /ilm directed b. uentin Tarantino Its re5

ce+tion at the bo o//ice -as huge as it grossed about ?10 million

ing been +roduced on a budget o/ onl. 8 million

highl. acclaimed b. the critics and -on the 3scar/or *>est !creen+la., as -ell as

the 7olden Palm at the )annes Film Festival The movie is hence distinctivel.not

-hatits title or the /irst -ord o/ its title 7*+ul+, claims it is: rubbish or a trash movie

-ith *a lurid subDect matter, 7PF 0:18 #lread. in its beginning& the /ilm thusdeliberatel. tries to blur the boundaries bet-een *high, and *lo-, art 3

PF is /reuentl. cited as a +rime eam+le o/ the +ost-moderncinema in an aes5

thetic sense 7!teans@Petti/ord& ?00E: 13B Its unconventional multi+le narrative struc5

ture brea6s -ith the tradition o/ linear stor.telling and is there/ore di//icult to

summari2e: The overall +lot is told in three +arallel accounts or maDor stor.lines 7+he

/onnie ituation! +he 7old #atch! and,incent ,ega and %arcellus #allaces #ife&

-hich are& ho-ever& eclecticall. narrated in seven seuences 7K In the end& the -hole

stor. is resolved in the /inal co//ee sho+ scene 7The (iner& -hich is& ho-ever& also the

movie,s beginning or +rologue *Pulp Fictionhas a circular narrative GJH it shi/ts and

re-inds& /orcing the vie-er to construct the stor. GJH, 7Aillella& ?000 The

Pers+ectives Aol 1B& $o 1?00= =E


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!T"F#$ "$%"RT& #L"'#$("R !P"$)"R

director& uentin Tarantino& himsel/ e+licitl. noted: *GNHou can tell it in an. -a.

.ou -ant It,s not Dust& .ou have to tell it linearl. GJH Pul+ Fiction -ould GthenH

be dra5maticall. less interesting, 7cited in inne/eld& ?00: B

#lthough there is a large number o/ di//erent issues o/ +ost5modernism to

/ocus on in the /ilm& the /ollo-ing +art -ill concentrate on three as+ects: /irstl.&

Tarantino,s dis-sident reading o/ violence& secondl.& his homage todialogue

and the constitutiverole o/ languagein PF& ie the various -a.s the s+eech5

acts o/ the characters 7re5+roduce a violent -orld& and /inall.& ho- the idea o/

multiple truthsrelates to a +os5sible criticism o/ +ost5modern theories in IR as

having an arbitrar. understanding ofscience@1uality

PF o//ers a dissident+ers+ective on violence and has been largel. critici2ed /or its

ecessive and 4 /rom a mainstream +oint o/ vie- 4 +oliticall. incorrect dis+la. o/ bru5talit. 7"bert& ?001 >ut uite contrar. to glamori2ing violence& PF tries to ma6es vi5

olence totall. ridiculous The /ilm is a cartoon: its -orld and its actors are +er de/inition

un5realistic& eaggerated& and -eird as according to Tarantino 71==& the sole use o/

the violence in PF is to entertain In this res+ect& the movie does not -ant to be ta6en

seriousl. it does not-ant to +aint a *true, account o/ the -orld PF is a neo5noir movie:

"ver.thing brutal is covered under a large blan6et o/ blac6 humor& sarcasm& and iron.

Tarantino,s dis+ro+ortionate use o/ violence aims at *disturbing, and de5constructing

the arti/icial *good@bad co+, categories For eam+le& the t-o hitmen& Aincent and 9ules

7+la.ed b. 9ohn Travolta and !amuel L 9ac6son cannot be +igeon5holed: The. are

some-hat but not totall. uns.m+athetic& but the. do not clearl. belong to the dar6 side

either Moreover& none o/ the 6illings after the intro5ductor. *6ids scene, at the

beginning 7PF 13:84?0:1E are +remeditated 4 the. all ha++en b. chance $one o/

the homicides are thus meant to create /ear or sus5+ense& -hich -ould be the t.+ical

/unction in ever. *serious, mainstream action movie #ccordingl.& it,s not the s+ectacle

7the action that is central in PF but the di-alogue (uring the -hole movie& Tarantino

ma6es use o/ humorous conversationsin order to decrease the negative e//ects o/ the

violent +ictures 7inne/eld& ?00: 1E41 !ee& /or eam+le& the gangsters, shallo-*chit chats, about ever.da. mat5ters 7Aillella& ?000 such as the *little di//erences,

bet-een the

+erminatorin -hich the main characters sa. ver. little PF is a celebration o/ language

It is a *novel converted into a motion +icture, 7Tarantino& 1==& in -hich +eo+le 4

un/ortunatel.& but consis5tentl. 4 get 6illed during and in5bet-een discourse

!o languagehas a central role in PF and is inherentl. lin6ed to violence: it is con5

stitutive /or the agents and structure The vulgar& aggressive& and violent verbal

= Pers+ectives Aol 1B& $o 1 ?00=


15/21


communication mirrors ho- the agents understand and construct their -orld Ai5olence

is absolutel. *normal, in PF as all the characters have either a totall. agnos5tic or a

su++ortive attitude to-ards violence *Aiolence, is 4 so to s+ea6 4 the *mainstream,& ie

the *usual, or *ordinar.,& in this -orld: $obod. cares /or not ma5ni+ulating boing-agers 7PF ??:?& earning one,s living honestl. 7PF ?:33& and res+ecting +h.sical

integrit. or /airness in s+orts 7PF 1h11:11 The dignit. o/ human li/e is +ermanentl.

violated& eg -hen 9ules and Aincent assassinate the college bo.s 7PF ?0:1E or -hen

>utch 6ills the unarmed Aincent 7PF 1h?B:E8 and runs over the de/enseless Marcellus

7PF 1h30:8 ;utside& in the real -orld 7the *real, Los #ngeles o/ toda.& violence is

dissident: Cierarch. and order eist& +rotected and en/orced b. state +olice >rea6ing

the rules or *the la-, is a criminal act 7ille5gal& not a++ro+riate and an ece+tion to

norms 7deviant 4 it usuall. results in going to Dail Inside the strange -orld o/ PF& this

logic is reversed: Illegalities& arbi5trar. Dustice& brutalit.& and violence are common

(isorder and anarch. enable the strong and +o-er/ul to maintain the some-hat cool

and entertaining *t.rann. o/ evil men, 7PF 1=:?05?0:1 The violence in action +er/ectl.

mirrors the violence in language 9ules in/ield,s notorious use o/ the >ible uote

"2e6iel ?E:1B& -hich he rituall. cites 7eg PF 1=:1// be/ore murdering someone& is

the most re+resentative discursive mani/estation o/ the meaning o/ violence in PF

Tarantino hence o//ers a dou"le reading o/ violence In his various +ortra.als o/

violence& the *usual, moralcategories and normative /rames o/ re/erence /all a+art or

become blurred hilst -atching the movie& the s+ectator becomes increasingl.

unsure -hether shooting +eo+le is *terri/.ing, 7PF 13:00//& */unn., 7PF 1hE1:?0 c/

?h11:00& or 4 in /act 4 *cool, 7PF ?h1E// PF ?h?0:0 //

Caving become accustomed to the *other, +ers+ective on violence throughout the

-hole movie& PF ends -ith a uite une+ected ible uote undergoes a ne- inter+retation& acuires a ne- meaning&and re/lects a ne- +aci/ism and a ne-l. rendered moral understanding #s the social

contet is di//erent& *"2e6iel ?E:1B, is no longer considered *a cold5blooded thing to sa.,

be/ore eecuting +eo+le 7eg PF 1=:1//& but acuires a ne- meaning 4 a re5

inter+retation o/ violence as *bad, or *-rong, 4 as an *other, set o/ moral standards to

lead 9ules, ne- li/e 7PF ?h18:1?4?h?3:?E inne/eld& ?00: 1 The reason /or 9ules,

conversion is a miraculousl. survived shooting: In one scene& a man rushes into the

room and /ires si gun shots at him and Aincent& but all o/ these shots miss their target

7PF 1h8:0E4E0 9ules is immediatel. convinced that this *-asn,t GDustH luc6, and

inter+rets the event as *divine intervention: GJH %od came do-n /rom Ceaven and

sto++ed these bullets GJH -hat ha++ened here -as a mira5

Pers+ectives Aol 1B& $o 1?00= =B


16/21

!T"F#$ "$%"RT& #L"'#$("R !P"$)"R

cle, 7PF 1h=:?041hE0:10 In the a/termath& he in/orms Aincent that he has

decided to uit being a hitman 7PF 1hE0:41hE1:01

>ut the utch 7PF 1h3=:004?0 and

ostensibl. Ringo and Nolanda 7PF ?h1=:00 ?h??:8// To re+lace the /ilm,s

obviousl. contro5versial but nonetheless straight/or-ard dissident +ers+ective -ith

the *usual, moral condemnation o/ violence and a rather *normal, ha++. ending&

-hich is so o/ten t.+ical /or ever. Coll.-ood /ilm studio& damages the movie,s

tight +ost5modern *gri+, and dilutes the clarit. o/ its dissident +ers+ective In doing

so& the movie be5comes much more ordinar.& normal and ver. much attached tothe mainstream cin5ema Its *message, then is uite sim+le: Instead o/ 7+ositivel.

irritating the vie-ers in order to induce them to criticall. thin6 about violence& the

vie-ers leave the cin5ema -ith a uite contem+lative& rather non5troubling& and

ordinar. message This message is: Those -ho continue to live a li/e based on

violence& those -ho are un5able to change and cannot ta6e other +ers+ectives

into account& have made the *-rong, choice: the. are doomed to /ail Dust li6e

Aincent& -ho is 6illed later 7PF 1h?B:E0// >ut those -ho are able to change&

those -ho +rogress or are on the -a. to doing so& have made the *right, choice:

the. -ill survive and +robabl. live a di//erent or a better li/e li6e 9ules or li6e >utch

-ith his girl/riend Fabienne 7PF 1h3:004B:00

#t the end o/ the /ilm& the -orld has become a slightl. better +lace In other -ords

there is a /airl. mainstream and common moral message to the /ilm This contrasts

shar+l. -ith Tarantino,s *disturbingl., com+le and color/ul +ortrait o/ diverse images o/

violence that he has tried to +aint throughout the movie The intellectual attrac5tiveness

o/ the dissident discourse on violence combined -ith a multiplicity of per-spectives or

truths is /inall. reduced to a sim+le blac6 and -hite scheme +roclaiming onl. one

rather ordinar. and mainstreamed version o/ truth& -hich is that violence has man.sha+es and si2es but is al-a.s *bad, Rather than inter+reting this as an5other

dissident element -ithin a /ilm in -hich violence has been +ortra.ed as main5stream or

as an interesting change o/ discourse once the ne- and di//erent +ers+ective on

violence is +ut /or-ard b. 9ules& Tarantino de5constructs and con5tradicts ever.thing

that the movie has +reviousl. attem+ted to 7de5construct ;ne could also sa. that our

conclusion is an allegor. o/ the so5called *re/leivit. +roblem, o/ +ost5modernism 7c/

(ie2& ?00: #s there are no standards /or di//erentiating be5t-een high and lo- art as

-ell as high and lo- science& *an.thing goes,& ie b. e+is5temological de/inition&

nothing can be ruled out as unscienti/ic 7c/ Colden& ?00: 80E Aice versa& this

assum+tion o/ a total relativity of truthlogicall. im+lies that -e

=8 Pers+ectives Aol 1B& $o 1 ?00=


17/21


-ill also never 6no- 7/or sure -hether -hat -e have seen& heard& or read is a

good +ost5modern stor.& sim+l. mainstream& or Dust *+ul+, ;/ course& +ost5

modern anal5.ses are not arbitrar. and there are criteria /or assessing such

research 4 /or eam5+le& the originalit. and the degree o/ innovation o/ thealternative +resented& the consistenc. and the +lausibilit. o/ the main

argument& the +otential o/ the anal.sis to contribute to or even solve actual

+olitical +roblems& and its *corrective /unction, 7Mathias #lbert cited in (ie2&

?003: 88& that is& its value in outlining alternatives to the mainstream and

+ointing out the negative conseuences o/ 6no-ledge5+o-er relationshi+s in

+olitics $evertheless& the movie Pulp Fictiono//ers a means o/ de5bating the

abstract notions inherent in the *re/leivit. +roblem, o/ +ost5modern IR theor.

);$)L


18/21

!T"F#$ "$%"RT& #L"'#$("R !P"$)"R

the students one is teaching The /irst a++roach seems ina++ro+riate /or a universit.

as it does not challenge the students to re/lect criticall. about the events seen on the

screen The second a++roach could be success/ull. used to give undergraduate stu5

dents an insight into some o/ the more abstract conce+ts /ound in international +ol5itics& thereb. +re+aring them and giving them tools and in/ormation that -ould be

use/ul /or the rest o/ their studies >oth the third and& in +articular& the /ourth a+5+roach

a++ear to be more suited to students -ho alread. have a basic under5standing o/

some o/ the main issues and theories in IR Cere the. are led to re/lect more criticall.

on the 6no-ledge the. have so /ar obtained at the universit.

"$($;T"!1 For more details& see the o//icial movie -ebsite at www.valleyofthewolvesiraq.comG30 March ?00BH

? !ee Tur6ish (ail. $e-s& ?3 Februar. ?00 Oeit& ?3 Februar. ?00 or elt& 18 Februar. ?003 For more in/ormation see: www.boxofficemojo.com/movies/?id=pulpfiction.htmG8 #ugust ?00BH

4uentin Tarantino cited in Ton. >o-den: uentin Tarantino: !ic6 or !ancti/iedQ

www.tmtm.com/sides/tarant.html G8 #ugust ?00BH

>I>LI;%R#PCN#llen& >arbara 71==8 *Ma6ing the )lassroom a !a/e "nvironment,& in 9 P Lovell 7ed Insights from Filminto

,iolence and 3ppression hattered Dreams of the 7ood ife& ++ 10E41?E est+ort: Praeger

#llison& %raham T and Phili+ Oeli6o- 71=== :ssence of Decision :8plaining the ;u"an %issile

;risis!?ndedition Carlo-: Longman

>erenson& "d-ard 71== *The oggs& )arl and Tom Pollard 7?00 *Coll.-ood and the !+ectacle o/ Terrorism,& 'ew Political

cience?8 73: 33E43E1

)am+bell& (avid 7?00B *Poststructuralism,& in T (unne& M ur6i and ! !mith 7eds International Re-

lations +heories Discipline and Diversity& ++ ?034??8 ;/ord: ;/ord


19/21


(en2in& $orman 7?000 *Reading Film 4 Filme und Aideos als so2ial-issenscha/tliches

"r/ahrungs5material,& in altimore: 9ohns Co+6ins arbara >udrich

"bert& Roger 7?001 *Pul+ Fiction 71==,& ;hicago un-+imes& 9une 10 ;nline: roerebert.

sun!times.com/apps/pbcs.dll/article?A"#=/$%%&%'&%/()*")+,%-/&%'&%%%&/&%$

"ric6son& )hristian 7?008 *Thematics o/ )ounterterrorism: )om+aring ? and MI5E@!+oo6s,&

;riti-cal tudies on +errorism 1 73: 3343E8

Fiebig5von Case& Ragnhild and erghahn >oo6s

Foucault& Michel 7?00? +he *rchaeology of )nowledge London: Routledge

Frlich& Margit& )hristian !chneider& and arsten Aisarius 7eds 7?008 Pro>ektionen des

Fundamental-ismus Marburg: !chSren

Funderbur6& )harles 71=B8 *Politics and the Movie,& +eaching Political cience 71: 111411

%erner& (eborah 71=8858= *Films and the Teaching o/ Foreign Polic.,& Foreign Policy *nalysis

'otes1E 73: 34

%ianos& Philli+ L 71==8 Politics and Politicians in *merican Film est+ort: Praeger

%iglio& "rnest 7?00? *


20/21

!T"F#$ "$%"RT& #L"'#$("R !P"$)"R

u2ma& L.nn M and Patric6 9 Cane. 7?001 *#nd J #ctionK runs-ic6: Rutgers


21/21


Smith, Steve(1997) NewApproaches toInternational Theory, in Johnaylis an! SteveS mith(e!s) TheGlobalization of WorldPolitics:AnIntroduction To International Relations,pp" 1#$%19&" 'or!* 'or!+niversity ress"

Spencer, Alean!er (-&&.) Teachin/ Terrorism at the Theatre, paper presente! at the

0IS Secon! 2lo3al International St4!ies onerence, 5643l6ana" Steans, Jill an! 5loy! ettior! (-&&$) IntroductiontoInternational Relations: Perspectivesand Themes"arlow* 5on/man"

Tarantino, 84entin (199) :ein ;op plat"

0el!es, J4tta (-&&1) 2lo3alisation is Science Diction, Millennium: 'ournal of Internationaltudies>& (>)* #7%##7"

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