The subject of this thesis is The Conservative Party and its use of political marketing. The text analyzes how the Party responded to three subsequent election defeats in 1997, 2001 and 2005 and to what extent are the Conservatives utilizing political marketing methods and techniques in reaction to the pressure from their more market oriented competitor, the Labour Party. Since the rebranding of the Labour Party under Tony Blair, the Conservatives were struggling to adapt to the new reality. Instead of utilizing political marketing and being more responsive to the wishes of the electorate they diverged their polities more to the right. However, their incumbent leader, David Cameron, is transforming the Party and making it more market oriented. These efforts are critically analyzed.

Los textos de CineScrúpulos son elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la UPC. Las imágenes utilizadas son de distintas páginas web. El uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / se ha convertido en un referente cinematográfico por derecho propio. La figura que se aleja como danzando, dueña de su propio futuro incierto, es una de las odas más hermosas al optimismo y a la sonrisa permanente, a pesar de las adversidades que afronta. Porque no debemos olvidar que Charlot es pobre pero digno, a pesar de que Chaplin, el personaje de carne y hueso, estuvo rodeado de una serie de polémicas por sus aparentes constructos ideológicos y por su conocido interés por las féminas. Pero eso no opaca un corpus fílmico que alumbró piezas que hoy son consideradas clásicos indiscutibles de la historia del cine. Por ello, en aras de saldar una cuenta pendiente, hemos decidido dedicar la presente edición de CineScrúpulos al genio de Chaplin. Pero no es lo único. Como suele suceder en cada ciclo académico, este número viene sazonado con algunos artículos interesantes. Nuevamente ingresamos al terreno de la tecnología para indagar si el universo de futuro que plantea la serie Black mirror tiene algún punto de conexión con el imaginario que despliega James Cameron en sus películas. De más está decir que el autor de Terminator (James Cameron, 1984) es un visionario y enfrenta en cada una de sus obras una serie de retos a nivel técnico pero también narrativo. Lástima que el presente texto haya sido elaborado antes del estreno de ese laberinto de discurso que es Black mirror: Bandersnatch (David Slade, 2018), pero prometemos en el futuro una indagación al respecto. Los dibujos animados también tienen su espacio en CineScrúpulos. Por supuesto, estamos hablando de los ejemplos más descabellados, surrealistas y transgresores que uno puede tener a mano. ¿Dragon Ball Z? No te pases. El universo de Chuck Jones está plagado de delicias que se disfrutan mejor a medida que pasan los años. Y Space jam (Joe Pytka, 1996) fue un producto altamente disfrutable en la década de los noventa. La gran interrogante que se plantea es si maneja el mismo tipo de comedia o toma otros referentes. Leer para creer. Y ya que hablamos de risotadas, el tercer artículo de fondo intenta establecer similitudes y diferencias entre un puñado de películas marca Tondero y otras que establecen nuevos derroteros en el cine de género en el Perú y que tiene que ver con el desenfreno. Es bueno hacer industria, pero las voces disidentes merecen ser escuchadas. Como puedes ver, esta edición está plagada de sonrisas.

The aim of master's thesis "Attitudes to the UK membership in the European Union (1993- 2016)" is to analyse the individual theoretical and political attitudes towards the UK membership in the European Union. In particular, the thesis focuses on the period after the adoption of the Maastricht Treaty in 1993, during the governments of Conservative Prime Minister John Major (1990-1997), Labour Prime Minister Tony Blair (1997-2005) and Conservative Prime Minister David Cameron (2010-2016), who called a referendum on "Brexit" in 2016. Since the beginning of its membership in the EU, the United Kingdom has been more inclined towards an intergovernmental approach and worried about the delegation of power to supranational authorities as well as federalist tendencies. Due to the large number of approaches and theories related to the European integration, the thesis will focus in detail on federalism theory, to which the United Kingdom has always strongly defined itself, contrary to the model of multilevel governance that characterizes the current political system in Britain. In the past, the British political system was based on the so-called Westminster model, however, since the 1980s it has gradually transformed into a model of multilevel governance. The core of the thesis is to classify the relations...

The aim of the master thesis is to deal with the specific bond between the USA and the Great Britain - by Winston Churchill defined as a special relationship - which connects the both countries based on their common history, language and culture or on their common threat. The special bond then further leads and helps to close cooperation and support in between the USA and the Great Britain. The era the thesis is concerned with begins at the very end of the Cold War when the common enemy was defeated and it was claimed that the special relationship is supposed to vanish as well. It then ends with the term of David Cameron who was later succeeded by Theresa May. The work further focuses on the three significant British premiers - John Major, Tony Blair and David Cameron and the description of their attitude to the relationship with European Union and more importantly to the USA, as the references about the special relationship appear further in their speeches. The subject of my analysis are the speeches of individual statesmen and the fact how exactly they perceive the Great Britain in the international system. Whether the Great Britain should accept its role in the European Union or rather deepen its bond with the USA on the contrary.

No / This article begins by examining in general terms the remaking of European films by Hollywood and considers the reasons for the growth in this cultural phenomenon. It goes onto argue that analysis of this process has much to tell us about intertextuality: how texts are read and transformed. Focusing on Vanilla Sky (US 2002), the Hollywood remake by Cameron Crowe of Alejandro Amenábar's film, Abre los ojos (Spain 1997), it explores the similarities and differences between the two films. In addition, it also considers the extent to which a filmic remake like Vanilla Sky might be read as a self-conscious reflection on the processes which are at the very heart of intertextuality as we understand it.

Text in English / This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several theoretical fronts to provide a view of the film from a cognitive cultural studies perspective. The insights gained from cognitive theory are used to situate the debate by indicating the value cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that results is a vehicle for the central concern of this study, which is to understand the diverse, often contradictory, meaning-making exhibited by Avatar audiences. A focus on the construction of empathic responses to the film’s messages investigates the success of this polysemy. Ihe central propositions of the study are that meanings and interpretations of the experience of viewing Avatar are made discursively; they are situated in definable traditions, mores and values; and this meaning-making takes place in a cognitive framework which allows for the technical reproduction and reception of the experience while providing powerful, emerging and cognitively plausible narratives. In an attempt to situate the film’s commercial success and its plethora of awards, including an Oscar for best art direction, the analysis takes a critical view of Cameron’s use of cultural stereotypes and the framing of the exotic other, and considers the continuing development of these elements over the whole series and product line or, as Henry Jenkins (2007) defines it, “transmedia”. In drawing the theoretical boundaries of the methodologies used in this study and in arguing for their complementarities, the study contributes to a renewal of Raymond Williams’ (1961) mostly forgotten claim of the cross-disciplinary cognitive dimension of cultural studies and demonstrates an affirmation of this formulation as cognitive cultural studies. / Art History, Visual Arts and Musicology / M.A. (Art History)

Julia Margaret Cameron, Alfred Tennyson, and Virginia Woolf: three major figures of British art and letters who have received much critical attention individually, but have not yet been studied together. In this project I consider the valedictory works of these artists at their convergence, first through their obvious geographic, familial, and aesthetic relationships, then in more subtle, deeper, and overarching dimensions. The chief texts that are the focus of this dissertation are Tennyson's Idylls of the King, plus five of the Laureate's most popular poems; Cameron's photographic illustrations of these poems; and a selection of Virginia Woolf's late work, with a focus on "The Searchlight," Three Guineas, Between the Acts, and Anon. The dissertation also makes use of apposite poems, essays, life writing, and fiction created by these artists. Since "The Theatre of Anon" focuses primarily on Cameron's Illustrations, a chapter containing photographs of all the books' pages concludes the dissertation text. An additional selection of images is included as an appendix, in support of the central thesis of this project. The complex friendship between Tennyson and Cameron inspired the latter's only published book, a collection of poetic excerpts accompanied by images of his poems staged as scenes from amateur theatricals. The photos, with the photographer acting as their playwright-director, evoke the literary pageant in Woolf's last novel. In photographing the Illustrations, Cameron took control of the Laureate's poetry, metaphorically assuming the role of Vivien stealing Merlin's poetic spells. This dissertation traces Woolf's perception of her great aunt as it evolved over the decades, beginning with the eccentric, affected, and comical Cameron of Freshwater (1926) and ultimately portraying her as a dynamic, determined, and creative artist who helped provide inspiration for the character of the playwright-director Miss La Trobe of Between the Acts (1940). I argue that her great aunt's work influenced Woolf to create the figure she called Anon as a counterpart to Tennyson's King Arthur, and to place La Trobe's pageant-play at the center of her last novel, Between the Acts, as a final act of homage to Cameron. An aggregate of all anonymous minstrels, artists, and authors who ever lived, Anon appears in the guise of Miss La Trobe, whose communal, participatory art demonstrates how the traditionally monocular "eye" of history can be enlarged in community theatre from a single "I" to a collaborative project accommodating multiple perspectives. The Arthurian chivalry to which the ideology of Anon is set in counterpoint represents a conservative point of view based on the belief in a divinely-ordained social order headed by a monarch, with prescribed roles for each of its members. Valor in combat and devotion in courtly love, chivalry's two chief expressions, are the basis of Arthur's knightly code, which has influenced British national character and identity from the country's founding. Arthur reached his Anglophone apotheosis in the nineteenth-century's Gothic revival, epitomized in Tennyson's Idylls of the King. At the end of her career, at the start of the Second World War, Woolf came to believe that theatrical performance offered a better paradigm for social organization than the chivalric hierarchy at the root of the patriarchal British Victorian culture in which she had grown up. She saw in the community theatre a gathering place that could foster moments of transcendent unity, intellectual freedom, and imaginative inspiration, and in drama an art form resilient enough to withstand an audience's interruption and disillusionment. Performance provided a collaborative alternative to the conservative constraints that were her Victorian legacy; history, she felt, could be more accurately portrayed through the accretion of expressive theatrical performances than by the monolithic, linear narrative it had become as the official transcript of the nation's past. The theatricals scenes of La Trobe's pageant and Cameron's Illustrations - both composed of scraps and fragments of quotidian life rearranged and recombined - offer a new visual conception of the past. Working at the level of what Walter Benjamin has called photography's optical unconscious the dissertation demonstrates how Cameron's photographs reveal a reconstellation or reconfiguration, of the dominant British narrative from defamiliarized versions of the past that resonate with La Trobe's pageant. I propose that Cameron's photos re-envision canonical texts, inspiring a new mythology for Woolf, one that reflects a fluid and elastic version of the British national story. Challenging the received Carlylean conception of history as the biographies of great men, Woolf's counter-history, like Cameron's book of illustrations, features ordinary men and women playing extraordinary roles. The legendary Arthur, traditionally credited with uniting the country's thirteen tribes, founding Britain, and shaping the nation's identity, is but one actor among many in Woolf's pageant of history; his starring role in Tennyson's Idylls of the King is reduced to a few key scenes in the Illustrations and a cameo appearance in Between the Acts. Woolf implies that though there may still be room in history's narrative for heroic men, they will no longer dominate it. With its evolving, democratic nature, the community theatre created by Anon offers a paradigm of citizenship and social organization that Woolf believed could encompass British history, re-envision it, and offer the world's citizens hope for the future.

By considering San Francisco’s legal, social, and cultural history during the late 19th and early 20th centuries in relation to American law, missionary women, and Chinese American prostitutes, this thesis argues that by aggressively trying to control Chinese sexuality through laws, “yellow slave” narratives, Christianizing, and the immigration process, the American government and missionaries created an atmosphere ripe for Chinese prostitutes in America with varying degrees of sexual freedoms.

The thesis is focusing on commercial diplomacy in the United Kingdom of Great Britain during the coalition government of David Cameron between 2010 - 2015. In globalized world, where the commercial diplomacy is done by not only state actors but also private ones, management of commercial diplomacy as well as priorities and strategies play crucial role. The Thesis analyses structure of the system and includes case study of British commercial diplomacy in the Czech Republic. Based on theoretical acknowledgments we can evaluate the of British Commercial Diplomacy in the reporting period which was affected by economic crisis.

The immigration has became the main topic in many western countries during several past years. This thesis focuses on immigration policy of the United Kingdom, where immigration represents 12,5 % of the whole population. Namely it deals with immigration policy during the premiership of David Cameron in the years 2010 to 2015. This topic is relatively recent, therefore has not been sufficiently explored. Moreover, attention is usually focused on integration policy; as a consequence thesis should contribute to mapping of actual immigration policy in the United Kingdom. This thesis examines which specific changes in immigration policy have been introduced by the government of David Cameron. Immigration policy is analyzed on base of the new Immigration Act and other documents which amended new law, then on the reforms of visa policy. The main objective of the analysis is to map immigration policy of David Cameron and reveal the specific steps taken by the government. The thesis also examines whether the development of immigration policy changes are applied to all immigrants from non-EU countries, or only to a certain type of immigrants. It also rates the achievement of stated goals of the Conservative Party.