Paul Cooke – författare

This book explores the practical delivery of participatory arts projects in international development. Bringing together an interdisciplinary group of academics, international development professionals and arts practitioners, the book engages honestly with the competing challenges faced by the different groups of people involved.Participatory arts are becoming increasingly popular in international development circles, fuelled in part by the increased accessibility of audio-visual media in the digital age, and also by the move towards participatory discourses in the wake of the UN’s Agenda 2030. The book asks: What do participatory arts projects look like in practice, and why are they used as an international development tool? How can we develop practical and sustainable development projects on the ground, localising best practice according to cultural, economic and linguistic contexts? What are the enablers of, and barriers to, successful participatory initiatives, and how can we evaluate past projects to learn and feed into future projects?Written to appeal to both academics and practitioners, this book would also be suitable for teaching on courses related to participatory development, community arts, and culture and development.

This book explores the practical delivery of participatory arts projects in international development. Bringing together an interdisciplinary group of academics, international development professionals and arts practitioners, the book engages honestly with the competing challenges faced by the different groups of people involved.Participatory arts are becoming increasingly popular in international development circles, fuelled in part by the increased accessibility of audio-visual media in the digital age, and also by the move towards participatory discourses in the wake of the UN’s Agenda 2030. The book asks: What do participatory arts projects look like in practice, and why are they used as an international development tool? How can we develop practical and sustainable development projects on the ground, localising best practice according to cultural, economic and linguistic contexts? What are the enablers of, and barriers to, successful participatory initiatives, and how can we evaluate past projects to learn and feed into future projects?Written to appeal to both academics and practitioners, this book would also be suitable for teaching on courses related to participatory development, community arts, and culture and development.

The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Each of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted—often politically motivated—value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking.

German film is enjoying enormous levels of success, be success defined in terms of financial returns, popularity with audiences at home and abroad or critical acclaim. On the one hand, the 2000s saw German productions become regular guests at all the major international film festivals, from Sundance to Tokyo, winning awards across the globe. As such, and as reviewers are keen to point out, the German industry appears to be reaching once again the aesthetic heights that brought it the international praise of critics from the late 1960s to the early 1980s. On the other, domestic productions are becoming more popular and, as a result, more commercially viable. Contemporary German Cinema examines the success of recent film production in its wider industrial, cultural and political context, blending broad overviews of recent trends with detailed examinations of key case studies. As a starting point, it explores the German film funding system and the economic place of the German industry within global film production. Subsequent chapters then look at the impact of this system on filmmakers’ aesthetic choices, be it the role of realism in contemporary cinema, or the rediscovery of the Heimatfilm as a popular film genre. This is complemented by discussion of the dominant issues these films explore, from the legacies of Germany’s Nazi past and post-war division, to the nation’s increasingly multicultural make up, the changing age and gender demographic of cinema audiences as well as the nation’s shifting relationship with the United States as both a ‘real’ and ‘imagined’ space.Paul Cooke looks at many of the most successful films of the last two decades, including Tom Tykwer's Run Lola Run, Wolfgang Becker's Good Bye, Lenin!, Hans Weingartner's The Edukators, Florian Henckel von Donnersmarchks The Lives of Others and Oliver Hirschbiegel's Downfall.

The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Each of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted—often politically motivated—value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking.

Before the fall of the Berlin Wall many East German writers were praised in the Western world as dissident voices of truth, bravely struggling with the draconian constraints of living under the GDR's communist regime.

This book provides a unique examination of the way Europe’s past is represented on contemporary screens and what this says about contemporary cultural attitudes to history.

Before the fall of the Berlin Wall many East German writers were praised in the Western world as dissident voices of truth, bravely struggling with the draconian constraints of living under the GDR's communist regime. However, since unification, Germany has been rocked by scandals showing the level to which the Stasi, the East German Secret Police, controlled these same writers. This is the first study in English to systematically explore how the writers have responded to the challenge of dealing with the Stasi from the 1950s to the present day. MICHAEL BUTLER Professor of Modern German Literature, University of Birmingham, UK CAROL ANNE COSTABILE-HEMING Associate Professor of German, Southwest Missouri Satte Univesrity, USA MIKE DENNIS Professor of Modern German History, University of Wolverhampton, UK OWEN EVANS Lecturer in German, University of Wales, Bangor, UK STEPHEN J.EVANS University of Wales, Swansea, UK KRISTIE FOELL Associate Professor of German, Bowling Green State University, Ohio, USA ALISON LEWIS Lecturer, Department of German and Swedish Studies, University of Melbourne, Australia GEORGINA PAUL Lecturer in German Studies, University of Warwick, UK JULIAN PREECE University of Kent, UK KARL-HEINZ SCHOEPS Professor Emeritus of German, University of Illinois, USA DENNIS TATE Professor of German Studies, University of Bath, UK JILL TWARK Assistant Professor of German, East Carolina University, USA REINHARD K. ZACHAU Professor of German, University of the South (Sewanee), USA

When the Berlin Wall came down and the two Germanies were reunited, culture was held up to be one of the keys to national unity. Ironically, however, Cooke argues it is the realm of culture that, at times, has most clearly demonstrated the continued divisions between East and West. Taking culture as broadly defined, this book examines state memorialization, literature, television, film, and the internet, to map out the problematic path of German national identity as it struggles to deal with the legacy of division. Drawing on postcolonial theory, the author examines the contention that the East has been colonized by the West, looking at how such perceptions have pervaded both east and west German culture. Cooke also discusses the complex phenomenon of nostalgia for East Germany, as evident in the recent international hit film Good Bye, Lenin! Rich in detail and first-hand accounts, this book provocatively asks how far East Germany can be read today as a postcolonial culture.

When the Berlin Wall came down and the two Germanies were reunited, culture was held up to be one of the keys to national unity. Ironically, however, Cooke argues it is the realm of culture that, at times, has most clearly demonstrated the continued divisions between East and West. Taking culture as broadly defined, this book examines state memorialization, literature, television, film, and the internet, to map out the problematic path of German national identity as it struggles to deal with the legacy of division. Drawing on postcolonial theory, the author examines the contention that the East has been colonized by the West, looking at how such perceptions have pervaded both east and west German culture. Cooke also discusses the complex phenomenon of nostalgia for East Germany, as evident in the recent international hit film Good Bye, Lenin! Rich in detail and first-hand accounts, this book provocatively asks how far East Germany can be read today as a postcolonial culture.

Germany's national film industry has been undergoing a remarkable resurgence since the beginning of the new millennium. German language films have been receiving Oscar nominations, the likes of "Downfall" and "The Lives of Others" have been winning Oscars, and all the main international festivals, from Berlin to Cannes, have been showcasing these films. German language cinema is again attracting attention at home and abroad and "New Directions in German Cinema" explores its developments since 2000. An international group of specialists on German film, society, culture, and politics together provide a wide-ranging study of this remarkable turn of fortunes. They examine just what German language film now has to offer, from the evolution of the so-called 'heritage films' which now dominate the country's mainstream and which examine Germany's problematic pasts - the Nazi, East German and terrorist legacies - to those which focus on the contemporary social reality of the Berlin Republic.

This book explores the nature of the dramatic growth in a distinct sense of East German identity in the years since the events that led to formal unification in 1990. While it is problematic to see ‘East Germanness’ as a singular and homogenous identity, it can be perceived as a distinctive phenomenon and a level of identification that exists alongside local, regional and national identities. The essays in this volume hope to challenge the commonly held misconception that East German regional identity is a problem that needs to be overcome in the process of unification. Through analyses of the social, political and cultural behaviour of East Germans and their perception of their own place in German society, this volume makes a complex and nuanced contribution to discussions on German national identity and the unification process.

Discussions of French ‘identity’ have frequently emphasised the importance of a highly centralised Republican model inherited from the Revolution. In reality, however, France also has a rich heritage of diversity that has often found expression in contingent sub-cultures marked by marginalisation and otherness – whether social, religious, gendered, sexual, linguistic or ethnic. This range of sub-cultures and variety of ways of thinking the ‘other’ underlines the fact that ‘norms’ can only exist by the concomitant existence of difference(s). The essays in this collection, which derive from the conference ‘Alienation and Alterity: Otherness in Modern and Contemporary Francophone Contexts’, held at the University of Exeter in September 2007, explore various aspects of this diversity in French and Francophone literature, culture, and cinema from the nineteenth to the twenty-first century. The contributions demonstrate that while alienation (from a cultural ‘norm’ and also from oneself) can certainly be painful and problematic, it is also a privileged position which allows the ‘étranger’ to consider the world and his/her relationship to it in an ‘other’ way.

This volume offers the first book-length academic investigation of Florian Henckel von Donnersmarck’s Oscar-winning film The Lives of Others (2006). The aim of this edited collection is twofold. On the one hand, it offers new insight into one of the most successful German films of the past two decades, placing The Lives of Others within its wider historical, political, aesthetic and industrial context. On the other, it offers this group of scholars, which includes many of the leading international figures in the field, opportunity to make a series of interventions on the state of contemporary German film and German film studies.

Although internationally renowned as a novelist, journalist, and essayist, Nobel Prize-winning author François Mauriac (1885-1970) never established a reputation as a poet. Yet it was Maurice Barrès’s favourable review of his first collection of verse, Les Mains jointes, that launched Mauriac’s career in 1910. He went on to publish three further collections of poems and insisted to the end of his life that, despite critical neglect of his verse, he remained first and foremost a poet. This book offers the first ever in-depth exploration of the whole of Mauriac’s verse output. After a chapter tracing his general conception of poetry and comparing his ideas to those of other poets and theorists, each of Mauriac’s verse collections is analysed in turn, as are many of his poems that were published exclusively in literary journals. A final chapter explores the significant relationship between Mauriac’s verse and his novels, revealing the multiple connections between these two series of texts. This volume will appeal to those with an interest in twentieth-century French poetry and, more generally, to those interested in the relationship between verse and prose.

Wolfgang Hilbig is a writer who is widely acknowledged as one of the most important to have emerged from the former GDR. In this study, the first in English, Paul Cooke explores the interplay of aesthetic and social ‘taboos’, as defined by the official discourse of the GDR, in a cross-section of Hilbig’s critical writing, poetry and prose. The protagonists in Hilbig’s texts suffer from a profound crisis of identity due to the disparity between the state’s official presentation of life in the East and their own experience. Cooke argues that through their exploration of the ‘taboo’, i.e. that which is excluded from the state’s official discourse, Hilbig’s characters attempt to break through the banal rhetoric of the ruling elite in order to realise an authentic sense of self.

Les Mains jointes (1909) was the collection of poetry that launched the long career of Nobel Prize-winning author François Mauriac (1885-1970). This critical edition provides the first ever overview of the volume’s complex textual history (spanning four decades). Drawing on Mauriac’s unpublished cahiers de jeunesse, Paul Cooke challenges the author’s claim that the majority of the poems in the collection were written while he was still at school. A selection of additional poems published between 1905 and 1923 (some of which have remained hidden for nearly a century) allows the reader to situate Les Mains jointes in relation to Mauriac’s wider verse output. In his Introduction, Cooke both explores the genesis and history of Les Mains jointes and offers some analysis of Mauriac’s style as a poet.