In this article, Richard Raskin discusses the release of Casablanca in 1942 within the context of American attitudes toward the Vichy and Free-French forces. He begins by discussing prior political analyses of the film, specifically the one that states that Rick's change of heart symbolizes President Roosevelt's and the nation's shift from isolationism to involvement in the war. Raskin maintains that this interpretation of the political significance of the film is justified but not sufficient. He takes it one step further by explaining that the film also contrasts two political alternatives: accommodation with Vichy versus opting for the Free French. Ultimately, the film is pro-Free French and anti-Vichy; it was designed to portray the Free French as America's natural ally in the fight against the Germans and simultaneously portray a negative image of the Vichy as corrupt and serving the interests of Germany. As a result, there is every reason to believe that the film influenced millions of American viewers to feel a profound political and emotional identification with the Free French in 1942-1943. However, Raskin finds a contradiction in the message of Casablanca in the context of its time of release. In supporting the Free French and anti-fascism, the film misinformed the American public of the essentially anti-Free French orientation of American policy and US support of Vichy leaders in North Africa at the time.
Despite Raskin's belief that Casablanca served to blur public awareness at the time of the film's release, this only further demonstrates the immense ideological influence of the film on American movie-goers. This article provides somewhat of a counter-argument to my thesis as it states that the film does not in fact reflect American foreign policy. In that sense, it is particularly useful for my thesis because in developing any good argument, it is important to take note of the opposing view. Raskin's analysis of the political significance of Casablanca, though it may vary from my own, gives insight into the historical context of the film's production and release. In addition, it shows the propagandistic capacity of the film and how affected audiences were by its political implications.
tagged foreign policy us by shnayd ...on 02-DEC-08
After giving this overview, which shows how often the United States has tried to influence the IPR regimes of the four BRIC countries, the article delves into a section entitled, “Coercion as an Ineffective Strategy in Promoting Intellectual Property Protection in the BRIC Countries.” This section is long and detailed with many examples of statistics showing how the United States has not achieved its goals through means of coercion. The article explicitly gives statistics for each country. The culmination of this large number of statistics is to show that not only does coercion not necessarily work, it can often be detrimental to the original goal. Examples of poor results are given for China and India.
The final section of this article argues that unilateral initiatives are an understudied method of strengthening IPR regimes in the BRIC countries. Unilateral initiatives are defined as “a voluntary conciliatory action presented by one party to the benefit of the other.” Examples of unilateral initiatives that have been successful are then given.
This article is plainly written with an obvious objective: to endorse unilateral initiatives as opposed to coercion as a way of reforming IPR in the BRIC countries. This method of change is supportive of a gradual change in the IPR regime in China as it does not expect immediate results and therefore, presents an effective means of carrying through with the project's thesis, which is always an important consideration when proposing an argument.
tagged Asia Asian_Production_Networks Berkeley_Round_Table_on_the_International_Economy Cross-National_Production_Networks Electronics High_Tech_Industry High_Technology_Industry International_Production_Networks US USA United_States business_area_studies by croninkc ...on 19-APR-06