Democracy and Civil Society in the Third World: Politics and New Political Movements. By Jeff Haynes. Cambridge: Polity, 1997. 211p. $26.95 paper.

2000 ◽  
Vol 94 (1) ◽  
pp. 215-216
Author(s):  
Manochehr Dorraj
Keyword(s):  
Civil Society ◽  
Third World ◽  
World Politics ◽  
Political Movements ◽  
The Third ◽  
The Third World

scholarly journals Beyond Cycles of Hegemony: Economic, Social, and Military Factors 

1995 ◽  
pp. 34-48
Author(s):  
Walter L. Goldfrank
Keyword(s):  
21St Century ◽  
Third World ◽  
National Development ◽  
Welfare States ◽  
Political Movements ◽  
Social Democratic ◽  
The Third ◽  
Closing The Gap ◽  
The Third World ◽  
Changing World

As we survey the changing world on the eve of the 21st century, scholars confront empirical puzzles and interpretive uncertainties. Those of us who identify with worldwide social and political movements seeking more democracy, more equality, more justice, and more rationality find ourselves at once free and daunted. We are free, finally, from the albatross of repressive party-states calling themselves "socialist," from the illusion that social-democratic welfare states are trending toward perfection, from the myth that national development in the Third World is closing the gap. And we are daunted by the double task of (1) reconstructing a strategy of global transformation and (2) making a viable movement out of the multiple oppositional fragments scattered about the global landscape.

Malayanised Chinese-Language Cinema

2019 ◽  
pp. 138-164
Author(s):  
Wai-Siam Hee
Keyword(s):  
Third World ◽  
Chinese Language ◽  
Nation Building ◽  
World Politics ◽  
Cultural Identities ◽  
The Third ◽  
The 1950S ◽  
National Boundaries ◽  
The Third World ◽  
The Way

The fifth chapter discusses how the Singaporean Chinese director Yi Shui created a Malayanised Chinese-language cinema during the 1950s and ’60s and offers a retrospective of the way people in Malaya and Singapore framed their nation-building discourse in relation to anti-colonialism and anti-imperialism after the Bandung Conference in 1955. This chapter rereads Yi Shui’s On Issues of the Malayanisation of Chinese-Language Cinema, examining its ‘Chinese-language cinema’ against the context of the Third World politics of ‘Malayanisation’ in the 1950s and ’60s. The chapter explores how Chinese-language cinema settles and resolves the diverse linguistic and cultural identities of Singaporean and Malayan Chinese audiences with varying backgrounds. ‘Chinese language’, as a term including both Mandarin and topolects, becomes a bargaining chip for Chinese-speaking peoples to resist the dual political oppression of English- and Malay-speaking groups. This chapter also analyses Yi Shui’s Chinese-language cinema practice through examining contemporary discourse and debates in Singaporean and Malayan periodicals on Malayanised Chinese-language cinema. The semi-documentary Third World film The Lion City and the melodrama Black Gold, set in a tin mine, feature multiple coexisting Chinese languages and attempt to mediate the misunderstandings rooted in the national boundaries and politics of various topolect groups.

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