This book has several main themes and arguments. International Relations has been westerncentric, which has contributed to its ignoring religion; while religion is not the main driving force behind IR, international politics cannot be understood without taking religion into account; the role of religion is related to the fact that IR has evolved to become more than just interstate relations and now included elements of domestic politics. The book proceeds in three stages. First, it looks at why religion was ignored by IR theory and theorists. Second, it examines the multiple ways religion influences IR, including through religious legitimacy and the many ways domestic religious issues can cross borders. In this discussion a number of topics including but not limited to international intervention, international organizations, religious fundamentalism, political Islam, Samuel Huntington's 'clash of civilizations' theory, and terrorism are addressed. Third, these factors are examined empirically using both quantitative and case study methodology.

This book has several main themes and arguments. International Relations has been westerncentric, which has contributed to its ignoring religion; while religion is not the main driving force behind IR, international politics cannot be understood without taking religion into account; the role of religion is related to the fact that IR has evolved to become more than just interstate relations and now included elements of domestic politics. The book proceeds in three stages. First, it looks at why religion was ignored by IR theory and theorists. Second, it examines the multiple ways religion influences IR, including through religious legitimacy and the many ways domestic religious issues can cross borders. In this discussion a number of topics including but not limited to international intervention, international organizations, religious fundamentalism, political Islam, Samuel Huntington's 'clash of civilizations' theory, and terrorism are addressed. Third, these factors are examined empirically using both quantitative and case study methodology.

On April 14, 1912, the Titanic struck an iceberg off Newfoundland. Taking more than 1,500 souls with her, Titanic sunk on what was intended to be the glorious maiden voyage of the biggest, most expensive, and most technologically advanced ship ever built.In 1997, James Cameron's Titanic, the most expensive and technologically advanced movie ever made, hit theaters. In 13 weeks, it became the highest-grossing film in North America, and shortly thereafter, the first motion picture to earn a billion dollars worldwide.The cultural studies and film scholars who have contributed 13 essays to this collection ask the key question--Why? What made Titanic such a popular movie? Why has this film become a cultural and film phenomenon? What makes it so fascinating to the film-going public?The articles address everything from the nostalgia evoked by the film to the semiotic meaningfulness created around "The Heart of the Ocean" diamond that figures so prominently as a symbol in the film. Contributors address questions of the representations of class, sexuality, and gender; analyze the cross-cultural reception of the film in nationally specific contexts; examine the impact of strategies for marketing the film through music; and cover the implications of the budget toward the film's success. Finally, the contributors address the film's multi-faceted relationship to genre, history, stardom, and contemporary social and economic means.

"A wide-ranging inquiry into an important area of contemporary scholarly interest, and also an engaging, well written and intelligently conceived collection." -Eric Smoodin, author of Animating Culture: Hollywood Cartoons From the Sound Era

Despite the success of Bugs Bunny, Daffy Duck, and their Looney cohorts, Warner Bros. animation worked in the shadow of Disney for many years. The past ten years have seen a resurgence in Warner Bros. animation as they produce new Bugs Bunny cartoons and theatrical features like Space Jam as well as television shows like Tiny Toon Adventures and Animaniacs. While Disney's animation plays it safe and mirrors traditional cinema stories, Warner Bros. is known for a more original and even anarchistic style of narration, a willingness to take risks in story construction, a fearlessness in crossing gender lines with its characters, and a freedom in breaking boundaries. This collection of essays looks at the history of Warner Bros. animation, compares and contrasts the two studios, charts the rise and fall of creativity and daring at Warner's, and analyzes the ways in which the studio was for a time transgressive in its treatment of class, race, and gender. It reveals how safety and commercialization have, in the end, triumphed at Warner Bros. just as they much earlier conquered Disney.

The book also discusses fan parodies of Warner Bros. animation on the Internet today, the Bugs Bunny cross-dressing cartoons, cartoons that were censored by the studio, and the merchandising and licensing strategies of the Warner Bros. studio stores. Contributors are Donald Crafton, Ben Fraser, Michael Frierson, Norman M. Klein, Terry Lindvall, Bill Mikulak, Barry Putterman, Kevin S. Sandler, Hank Sartin, Linda Simensky, Kirsten Moana Thompson, Gene Walz, and Timothy R. White.