Veto Players in Post-Conflict DDR Programs: Evidence from Nepal and the DRC

Under what conditions are Disarmament, Demobilization and Reintegration (DDR) programs successfully implemented following intrastate conflict? Previous research is dominated by under-theorized case studies that lack the ability to detect the precise factors and mechanisms that lead to successful DDR. In this article, we draw on game theory and ask how the number of veto players, their policy distance, and their internal cohesion impact DDR implementation. Using empirical evidence from Nepal and the Democratic Republic of Congo, we show that the number of veto players, rather than their distance and cohesion, explains the (lack of) implementation of DDR

Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film

This article argues that a certain type of Shanghai film of the Republican period, exemplified by 1937’s Street Angel (馬路天使, Malu tianshi), makes use of a specific mode of spatial organization, modelled on the theatre, to represent the urban environment. In the case of Street Angel, and later on in 1964’s Stage Sisters (舞台姐妹, Wutai jiemei), the interaction between performers and audiences characteristic of the Shanghai theatre experience serves as a crucial ground on which to base calls to political action. For a variety of related reasons, both the city of Shanghai and this mode of spatial organization so closely associated with it vanish from the big screen in the 1980s and 1990s, and begin to make a return only at the turn of the new century

Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film

This article argues that a certain type of Shanghai film of the Republican period, exemplified by 1937’s Street Angel (馬路天使, Malu tianshi), makes use of a specific mode of spatial organization, modelled on the theatre, to represent the urban environment. In the case of Street Angel, and later on in 1964’s Stage Sisters (舞台姐妹, Wutai jiemei), the interaction between performers and audiences characteristic of the Shanghai theatre experience serves as a crucial ground on which to base calls to political action. For a variety of related reasons, both the city of Shanghai and this mode of spatial organization so closely associated with it vanish from the big screen in the 1980s and 1990s, and begin to make a return only at the turn of the new century

Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film

This article argues that a certain type of Shanghai film of the Republican period, exemplified by 1937’s Street Angel (馬路天使, Malu tianshi), makes use of a specific mode of spatial organization, modelled on the theatre, to represent the urban environment. In the case of Street Angel, and later on in 1964’s Stage Sisters (舞台姐妹, Wutai jiemei), the interaction between performers and audiences characteristic of the Shanghai theatre experience serves as a crucial ground on which to base calls to political action. For a variety of related reasons, both the city of Shanghai and this mode of spatial organization so closely associated with it vanish from the big screen in the 1980s and 1990s, and begin to make a return only at the turn of the new century

Shanghai Alleys, Theatrical Practice, and Cinematic Spectatorship: From Street Angel (1937) to Fifth Generation Film

This article argues that a certain type of Shanghai film of the Republican period, exemplified by 1937’s Street Angel (馬路天使, Malu tianshi), makes use of a specific mode of spatial organization, modelled on the theatre, to represent the urban environment. In the case of Street Angel, and later on in 1964’s Stage Sisters (èËžå°å§å¦¹, Wutai jiemei), the interaction between performers and audiences characteristic of the Shanghai theatre experience serves as a crucial ground on which to base calls to political action. For a variety of related reasons, both the city of Shanghai and this mode of spatial organization so closely associated with it vanish from the big screen in the 1980s and 1990s, and begin to make a return only at the turn of the new century.China; films; theatre; urban space