Bosnia and Herzegovina: Building a Film/TV Production Industry to Boost its Economy and Unite its Divided Cultures

This paper discusses how Bosnia and Herzegovina (BiH) can boost its stalled economy by generating jobs and increasing film-tourism, while simultaneously helping unite its culturally divided nation, by building a film/TV production industry looking to Northern Ireland's successful model following its similarly violent history. Evidence is presented substantiating that BiH has the infrastructure and workforce from which to grow a film/TV production industry, but it must be built through large-scale foreign productions like Northern Ireland did with Game of Thrones. Examining studies conducted by industry experts, strategies are offered for building a competitive and sustainable film/TV production industry in BiH. Results reveal more research is needed evidencing film/TV production can unify people from different ethno-religious/political groups in post-conflict societies.

Washington, the nation's capital /

One color map on folded leaf affixed to p. 192.

Intramural Building UM

Smith, Hinchman & Grylls, architect. Inspired by Fielding H. Yost's enthusiasm and support of athletics for all, this building opened in October 1928 and was the first university-owned structure in the nation devoted primarily to intramural sports (Encyclopedic Survey, p. 1988). On verso: Recieved from A.M. Leslie, Ch. E. Sc. '38

Intramural Sports Building

Smith, Hinchman & Grylls, architect. Inspired by Fielding H. Yost's enthusiasm and support of athletics for all, this building opened in October 1928 and was the first university-owned structure in the nation devoted primarily to intramural sports (Encyclopedic Survey, p. 1988). Munted as "November" in 1931 calendar.

Building America's health

Mode of access: Internet.

Re-imagining Yerevan in the post-Soviet era: Urban symbolism and narratives of the nation in the landscape of Armenia's capital

The urban landscape of Yerevan has experienced tremendous changes since the collapse of the Soviet Union and Armenia’s independence in 1991. Domestic and foreign investments have poured into Yerevan’s building sector, converting many downtown neighborhoods into sleek modern districts that now cater to foreign investors, tourists, and the newly rich Armenian nationals. Large portions of the city’s green parks and other public spaces have been commercialized for private and exclusive use, creating zones that are accessible only to the affluent. In this dissertation I explore the rapidly transforming landscape of Yerevan and its connections to the development of contemporary Armenian national identity. This research was guided by principles of ethnographic inquiry, and I employed diverse methods, including document and archival research, structured and semi-structured interviews and content analysis of news media. I also used geographic information systems (GIS) and satellite images to represent and visualize the stark transformations of spaces in Yerevan. Informed by and contributing to three literatures—on the relationship between landscape and identity formation, on the construction of national identity, and on Soviet and post-Soviet cities—this dissertation investigates how messages about contemporary Armenian national identity are being expressed via the transforming landscape of Armenia’s national capital. In it I describe the ways in which abrupt transformations have resulted in the physical and symbolic eviction of residents, introducing fierce public debates about belonging and exclusion within the changing urban context. I demonstrate that the new additions to Yerevan’s landscape and the symbolic messages that they carry are hotly contested by many long-time residents, who struggle for inclusion of their opinions and interests in the process of re-imagining their national capital. This dissertation illustrates many of the trends that are apparent in post-Soviet and post-Socialist space, while at the same time exposing some unique characteristics of the Armenian case.

Heritage and nation narration in contested societies

The targeted destruction of heritage sites in recent conflicts in Syria, Iraq and Mali has tragically illustrated how the treatment of heritage, as the tangible manifestation of the identity of the ‘other’, can be a symptom of the nadir to which group relations can descend. In a world in which the nation-state remains the primary means of identification, the following overarching research question was investigated: How do nation-states narrate their pasts in the built form? Drawing upon the conceptualisation of heritage as a present-orientated and political construct that is utilised to represent the values of the “dominant political, social, religious or ethnic groups” (Graham, Ashworth & Tunbridge 2000: p.183), this paper discusses the role that heritage interventions can play in both emphasising gulfs and building bridges in divided post-conflict societies (Fojut 2009).

Tourism Media Dynamics: Narratives of the Nation-State

With the premise that the tourism promotional video “China, Forever” provides a crucial access to understanding how tourism engages in a wider circle of socio-culture formation, this dissertation research approaches tourism by examining communicative practices initiated by “China, Forever”. In doing so, it seeks to reveal two dialogues – firstly, between the discursive construction of tourism representational language and China’s nation-state ideology; secondly, between interpretations from overseas Chinese audiences and nation-state narratives delivered via the tourism media. In analyzing the first dialogue, this dissertation reveals that the pursuit of collective and monolithic national imagery has caused a representational violence – one that is committed by the nation-state ideology operated through the organization of tourism language. The very representational coercion itself, however, signifies the nature of tourism media as a vehicle mediating the global gaze and China’s self-representation; illuminating the fact that China’s nation-state building is only to be understood as deeply-grounded in the complexity of postcolonial politics. Furthermore, in a dialectic view, such finding consolidates the nature of “China, Forever” as a cultural product that actively exists as a component in the overall social fabric, co-creating a wider circle of culture politics together with other genres of media products; thus, calling for a more comprehensive understanding of tourism media at large. In the second approach, this dissertation seeks to understand how the tourism video “China, Forever” mediates the relationship between tourism narratives of the nation-state and overseas Chinese individuals; thus bridging together tourism media and ongoing life experiences of the audiences chosen. The analysis reveals that audiences’ interpretations heavily concentrate on resisting and fragmenting the hegemonic nation-state language in “China, Forever”. While some interviewees seek to decentralize the nation-state perspective from aspects of aesthetics, representational style, and representational subjects in “China, Forever” by incorporating their individual memories and past experiences, to some others, the over-polished glorification of China in the mediated tourism discourse is only coercive to China’s social realities experienced by the individual interviewees - the disheartening contrasts of poverty and affluence as well as other social inequalities. From the perspective of the audience group, the Chinese scholars and students at the University of Illinois interviewed for this dissertation research constitute a cohort of exiled audiences for the tourism video “China, Forever”. The audiences subject themselves to voluntary interpellation, a process in which they find themselves defending, negotiating, and resisting the nation-state representation of China – even though they are not its intended audience and have had no input into its production. Nevertheless, such process is one of identification, in which viewers articulate a subject position from which to speak of their own experiences, dilemmas and desires. The usefulness of tourism media discourse in mediating the nation-state narratives and the individual experience is amplified.

Building audiences: Aboriginal and Torres Strait Islander arts

FOREWORDAs a culturally ambitious nation we are shaped by our cultural engagement and it is an important catalyst for critical discourse. It is vital that audiences and artists discuss their experiences, enabling us as a community to come together through engagement with diverse practice that challenges and entertains. This research has been undertaken in response to the Australia Council’s strategic vision for a nation where there are no borders to accessing Australian arts, and all Australians are able to experience and cherish Aboriginal and Torres Strait Islander arts and culture.Building Audiences provides an insight into the nature of existing Australian audiences and the broader public. It reveals how Australians engage with Aboriginal and Torres Strait Islander arts in the public sphere as audiences, highlighting that this engagement is part of a broader national dialogue about their relationship with and towards Indigenous Australia.

Peripherally η1-Platinated Organometallic Porphyrins as Building Blocks for Multiporphyrin Arrays

The modification of peripherally metalated meso-η1-platiniometalloporphyrins, such as trans-[PtBr(NiDAPP)(PPh3)2] (H2DAPP = 5-phenyl-10,20-bis(3‘,5‘-di-tert-butylphenyl)porphyrin), leads to the analogous platinum(II) nitrato and triflato electrophiles in almost quantitative yields. Self-assembly reactions of these meso-platinioporphyrin tectons with pyridine, 4,4‘-bipyridine, or various meso-4-pyridylporphyrins in chloroform generate new multicomponent organometallic porphyrin arrays containing up to five porphyrin units. These new types of supramolecular arrays are formed exclusively in high yields and are stable in solution or in the solid state for extended periods. They were characterized by multinuclear NMR and UV−visible spectroscopy as well as high-resolution electrospray ionization mass spectrometry.