In 1914, Copperfield, Oregon was militarily occupied by order of the governor, Oswald West. Its town government was deposed, the city officials were arrested, and the town's saloons were closed and all liquor and gambling devices were seized. The town, previous to Governor West's interdiction, had seen a breakdown into violence and arson between two competing saloon cliques. The resulting martial law of Copperfield and subsequent court battles between the governor and Copperfield's saloonkeepers would become known as the Copperfield Affair. The purpose of this study is to explain how and why the Copperfield Affair happened. The event which precipitated the Copperfield Affair was the collapse of the town's economy. Copperfield was a frontier town, which placed it at greater risk of economic failure. The failure of the two construction projects necessary for its economic success led to a violent contest for customers among the town's three saloons, resulting in several arsons, eventually drawing Governor West's attention to the town. The Temperance Movement in Oregon is a second factor influencing why the Copperfield Affair occurred. Governor West cared about the problems of a failed town in the middle of nowhere, because he was a proponent of prohibition and the violence in Copperfield presented an opportunity to make a statement for the Temperance Movement. Finally, Governor West relied on the concurrent evolution of two important definitions relevant to the state executive. One was the increasingly general definition of martial law and how it could be used by the governor. This definition, by 1914, allowed Governor West to legally occupy Copperfield. Second, the development of the Progressive Movement at the beginning of the twentieth century also coincided with greater public desire for a powerful and energetic executive in order to achieve reform. Governor West personified the Progressive executive, as a person who got things done and supported the sort of social reforms the Movement favored, like temperance. By combining the development of a powerful state executive, with great military powers, a governor and public in favor of prohibition, and a weak frontier town suffering violence from the liquor trade, we arrive at a situation which keenly encapsulates a moment in time in Oregon history, one in which a governor would use such extreme measures to crack down on what was a local squabble.

130 ABSTRACT This Master's degree thesis deals with the problematics of the military criminal law in the Czechoslovak Republic between 1918 and 1938. I have chosen this theme for several reasons. First of these reasons is, that this subject mingles two legal disciplines - legal history and criminal law. Concurrently it is a topic, that has not yet been widely written up. The reason is that in both law disciplines combined in the theme of interwar criminal law, it is a marginal area of interest. Existing works in most cases focus only on a constituent parts of the problematics. In the second group of works the topic was chosen too widely and the character of resulting outputs was enumeratives, withnout providing context. The purpose of this tesis is to provide a global view on the matter of our military criminal law in the begining of 20th century and within this view then further focus on its dominant elements. The work is based mainly on the legislation effective in the given period, and the commented wordings. Another valuable source for the elaboration of the thesis were historical publications, although recent papers were not excluded. On several occasions the work marginally mentiones the comparison with the interwar general criminal law. In the topics of the military criminal law, whose legislation or...

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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.