Since the early 1990s, Japan has played an increasingly important and influential role in Africa. A primary mechanism that has furthered its influence has been through its foreign aid policies. Japan's primacy, however, has been challenged by changing global conditions related to aid to Africa, including the consolidation of the poverty reduction agenda and China's growing presence in Africa. This book analyzes contemporary political and economic relations in foreign aid policy between Japan and Africa. Primary questions focus on Japan's influence in the African continent, reasons for spending its limited resources to further African development, and the way Japan's foreign aid is invested in Africa. The context of examining Japan's foreign aid policies highlights the fluctuation between its commitments in contributing to international development and its more narrow-minded pursuit of its national interests. The contributors examine Japan's foreign aid policy within the theme of a globalized economy in which Japan and Africa are inextricably connected. Japan and many African countries have come to realize that both sides can obtain benefits through closely coordinated aid policies. Moreover, Japan sees itself to represent a distinct voice in the international donor community while Africa needs foreign aid from all sources.

Since the early 1990s, Japan has played an increasingly important and influential role in Africa. A primary mechanism that has furthered its influence has been through its foreign aid policies. Japan's primacy, however, has been challenged by changing global conditions related to aid to Africa, including the consolidation of the poverty reduction agenda and China's growing presence in Africa.

This book analyzes contemporary political and economic relations in foreign aid policy between Japan and Africa. Primary questions focus on Japan's influence in the African continent, reasons for spending its limited resources to further African development, and the way Japan's foreign aid is invested in Africa. The context of examining Japan's foreign aid policies highlights the fluctuation between its commitments in contributing to international development and its more narrow-minded pursuit of its national interests.

The contributors examine Japan's foreign aid policy within the theme of a globalized economy in which Japan and Africa are inextricably connected. Japan and many African countries have come to realize that both sides can obtain benefits through closely coordinated aid policies. Moreover, Japan sees itself to represent a distinct voice in the international donor community while Africa needs foreign aid from all sources.

A complete introduction to analyzing and enjoying a wide variety of movies, for film students and movie lovers alike Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is a thorough overview of movie analysis designed to enlighten both students and enthusiasts, and heighten their enjoyment of films. Readers will delve into the process of thinking about movies critically and analytically, and find how doing so can greatly enhance the pleasure of watching movies. Divided roughly into two parts, the book addresses film studies within the context of the dynamics of cinema, before moving on to a broader analysis of the relationship of films to the larger social, cultural, and industrial issues informing them. This updated fourth edition includes an entirely new section devoted to a complete analysis of the film adaptation of The Girl with the Dragon Tattoo, along with many in-depth discussions of important films such as Citizen Kane and Silence of the Lambs. The chapter on television integrates a major expansion distinguishing between television in the digital era of the convergence of the entertainment and technology industries in comparison to the era of broadcast analogue television. The final chapter places film within the current context of digital culture, globalization, and the powerful rise of China in film production and exhibition. The authors clearly present various methodologies for analyzing movies and illustrate them with detailed examples and images from a wide range of films from cult classics to big-budget, award-winning movies. This helps viewers see new things in movies and also better understand and explain why they like some better than others. Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is ideal for film students immersed in the study of this important, contemporary medium and art form as well as students and readers who have never taken a class on cinema before.

Putting together these Proceedings has afforded me the oppor tunity to re-read the papers which were presented last October here in Washington. In retrospect, the 1981 NATO/CCMS Symposium on Hazardous Waste Disposal maintains the impression of excellence expressed by the par ticipants at the actual event. The scope of the subject-matter and quality of its presentation indicate that we did attain the Sympos iums's objective--a comprehensive review of the international status of hazardous waste disposal. It is my hope that in your own evaluation of these proceedings, you will share my conviction that the Symposium--conceived three years ago, approved by the NATO/CCMS Pilot Study experts in Oslo in October 1980, and taking place a year later--was indeed worthwhile and that this record of its proceedings will be useful for many years to come. John P. Lehman Washington, D.C. Editor June 1982 v CONTENTS OPENING REMARKS * * * * * * * * * 1 Dr. John W. Hernandez, Jr.

From the introduction of animated film in the early 1900s to the 1950s, ethnic humor was a staple of American-made cartoons. Yet as Christopher Lehman shows in this revealing study, the depiction of African Americans in particular became so inextricably linked to the cartoon medium as to influence its evolution through those five decades. He argues that what is in many ways most distinctive about American animation reflects white animators' visual interpretations of African American cultural expression. The first American animators drew on popular black representations, many of which were caricatures rooted in the culture of southern slavery. During the 1920s, the advent of the sound-synchronized cartoon inspired animators to blend antebellum-era black stereotypes with the modern black cultural expressions of jazz musicians and Hollywood actors. When the film industry set out to desexualize movies through the imposition of the Hays Code in the early 1930s, it regulated the portrayal of African Americans largely by segregating black characters from others, especially white females. At the same time, animators found new ways to exploit the popularity of African American culture by creating animal characters like Bugs Bunny who exhibited characteristics associated with African Americans without being identifiably black. By the 1950s, protests from civil rights activists and the growing popularity of white cartoon characters led animators away from much of the black representation on which they had built the medium. Even so, animated films today continue to portray African American characters and culture, and not necessarily in a favorable light. Drawing on a wide range of sources, including interviews with former animators, archived scripts for cartoons, and the films themselves, Lehman illustrates the intimate and unmistakable connection between African Americans and animation.Choice

The book examines how the coalition among the national African American civil rights organizations disintegrated between 1967 and 1973 as a result of the factionalism that splintered the groups from within as well as the federal government's sabotage of the Civil Rights Movement. Focusing on four major civil rights groups, Power, Politics, and the Decline of the Civil Rights Movement: A Fragile Coalition, 1967-1973 documents how factions within the movement and sabotage from the federal government led to the gradual splintering of the Civil Rights Movement. Well-known historian Christopher P. Lehman builds his case convincingly, utilizing his original research on the Movement's later years-a period typically overlooked and unexamined in the existing literature on the Movement. The book identifies how each civil rights group challenged poverty, violence, and discrimination differently from one another and describes how the federal government intentionally undermined civil rights organizations' efforts. It also shows how civil rights activists gravitated to political careers, explains the rising prominence of civil rights speakers to the Movement in the absence of political organizing by civil rights groups, and documents the Movement's influence upon Richard Nixon's presidency. Identifies the instances in which the civil rights groups acted as a united coalition between 1967 and 1973 and recognizes how disagreements on separatism, feminism, and political campaigning split the Civil Rights Movement into individual civil rights groups Establishes the importance of women to the survival of the Movement in its later years Shows how the Movement influenced antiwar demonstrations of the era and struggled to remain nonviolent as Black Power militancy peaked Details efforts by the White House, the FBI, and state governments to infiltrate and sabotage the Movement Provides broad content ideal for undergraduate and graduate college students taking courses on the Civil Rights Movement as well as for professional and lay historians

In the first four years of U.S. involvement in the Vietnam War (1961-64), Hollywood did not dramatize the current military conflict but rather romanticized earlier ones. Cartoons reflected only previous trends in U.S. culture, and animators comically but patriotically remembered the Revolutionary War, the Civil War, and both World Wars. In the early years of military escalation in Vietnam, Hollywood was simply not ready to illustrate America's contemporary radicalism and race relations in live-action or animated films. But this trend changed when US participation dramatically increased between 1965 and 1968. In the year of the Tet Offensive and the killings of the Rev. Martin Luther King, Jr., and Senator Robert Kennedy, the violence of the Vietnam War era caught up with animators. This book discusses the evolution of U.S. animation from militaristic and violent to liberal and pacifist and the role of the Vietnam War in this development. The book chronologically documents theatrical and television cartoon studios' changing responses to U.S. participation in the Vietnam War between 1961 and 1973, using as evidence the array of artistic commentary about the federal government, the armed forces, the draft, peace negotiations, the counterculture movement, racial issues, and pacifism produced during this period. The study further reveals the extent to which cartoon violence served as a barometer of national sentiment on Vietnam. When many Americans supported the war in the 1960s, scenes of bombings and gunfire were prevalent in animated films. As Americans began to favor withdrawal, militaristic images disappeared from the cartoon. Soon animated cartoons would serve as enlightening artifacts of Vietnam War-era ideology. In addition to the assessment of primary film materials, this book draws upon interviews with people involved in the production Vietnam-era films. Film critics responding in their newspaper columns to the era's innovative cartoon sociopolitical commentary also serve as invaluable references. Three informative appendices contribute to the work.