S Craig – författare

Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship. In this period of film, familiar structures of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity walk the streets of postwar cities. Through new perspectives on the films of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this book examines the ways in which filmmakers acknowledge the fascist past. Siobhan S. Craig reveals that the attempts to reconfigure the idioms of cinema are never fully naturalized and remain highly precarious constructions.

Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship.

Essays by a distinguished group of political scientists and social psychologists provide a conceptual framework for understanding how ambivalence is currently understood and measured, as well as its relevance to the mass public's beliefs about our political institutions and national identity.

This book represents an important step in bringing together various strands of research about attitudinal ambivalence and public opinion. Essays by a distinguished group of political scientists and social psychologists provide a conceptual framework for understanding how ambivalence is currently understood and measured, as well as its relevance to the mass public's beliefs about our political institutions and national identity. The theoretical insights, methodological innovations, and empirical analyses will add substantially to our knowledge about the nature of ambivalence in particular, and the structure and evolution of political attitudes in general.