Emanuelle K. F. Oliveira-Monte, Barack Obama Is Brazilian: (Re)Signifying Race Relations in Contemporary Brazil

Emanuelle K. F. Oliveira-Monte, Barack Obama Is Brazilian: (Re)Signifying Race Relations in... Book notes 357 Harper not only critiques the representation of the Bosnian War in narrative film fiction by analysing both Hollywood and European productions, but he also provides a brief historical account of the Yugoslav wars and their news coverage. The book is divided into six substantive chapters, an introduction and a conclusion. Chapter 1 tells the story of the Bosnian War in a critical way. Harper reminds us of the controversial role the ‘world’s “great” powers’ played in the war as well as of the fact that Slobodan Milosevic was not the only villain in that war. Chapter 2 then explores the news coverage of the war and the political ideologies compromising the coverage in favour of Western powers’ policy objectives. The next four substantive chapters focus on the cinematic representations of the war – from drama films and TV series from the 1990s such as Welcome to Sarajevo, Warriors and Alpha Bravo Charlie (Chapter 3) to Bosnian war action films from the 2000s such as Behind Enemy Lines and The Hunting Party (Chapter 4) to issues of gender and sexual violence in films such as As if I Am Not There and In the Land of Blood http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png European Journal of Communication SAGE

Emanuelle K. F. Oliveira-Monte, Barack Obama Is Brazilian: (Re)Signifying Race Relations in Contemporary Brazil

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Publisher
SAGE
Copyright
© The Author(s) 2018
ISSN
0267-3231
eISSN
1460-3705
D.O.I.
10.1177/0267323118775780c
Publisher site
See Article on Publisher Site

Abstract

Book notes 357 Harper not only critiques the representation of the Bosnian War in narrative film fiction by analysing both Hollywood and European productions, but he also provides a brief historical account of the Yugoslav wars and their news coverage. The book is divided into six substantive chapters, an introduction and a conclusion. Chapter 1 tells the story of the Bosnian War in a critical way. Harper reminds us of the controversial role the ‘world’s “great” powers’ played in the war as well as of the fact that Slobodan Milosevic was not the only villain in that war. Chapter 2 then explores the news coverage of the war and the political ideologies compromising the coverage in favour of Western powers’ policy objectives. The next four substantive chapters focus on the cinematic representations of the war – from drama films and TV series from the 1990s such as Welcome to Sarajevo, Warriors and Alpha Bravo Charlie (Chapter 3) to Bosnian war action films from the 2000s such as Behind Enemy Lines and The Hunting Party (Chapter 4) to issues of gender and sexual violence in films such as As if I Am Not There and In the Land of Blood

Journal

European Journal of CommunicationSAGE

Published: Jun 1, 2018

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