'Classical' film restoration is based on special printing machines to improve the quality of copies. The celebration of the Centenary of Cinema in 1995 was the occasion to initiate new developments for the preservation of the international cinematic heritage and the restoration of old damaged films. Furthermore, it is of significant interest to all scholars and peace activists studying these various countries and their conflicts. This volume is a valuable resource to many, as the focus on symbols can span many disciplines such as political science, anthropology, sociology, psychology, and art. In addition to the nine case studies, there is an introductory chapter, which grounds the discussion in current peace psychology literature as well as provides future directions. Taken together, the contents of the volume provide a rich tapestry of intellectual analyses to the diverse selection of conflict settings from around the globe. Contributions come from authors from around the world that have conducted empirical studies on intergroup relationships or have provided significant academic contributions in the area of symbols and collective memories represented in theoretical publications. In each chapter, three issues are emphasized: the particular symbols that are divisive in the specific culture how these symbols were used to perpetuate conflict and how these symbols can be used or modified to bring unification. In order to provide context for the nuances surrounding the symbols, there are brief historical overviews for each conflict featured in the volume. that serve as a means for groups or individuals to connect with past generations, celebrate a heritage, and possibly express religiosity. In addition, the authors include commemorations and other dynamic events. It takes a fairly broad perspective on what constitutes a symbol, to include objects such as flags, signs, language, and monuments, all of which convey conflicting meanings in a society affected by conflict. This work explores the function of both divisive and uniting symbols in various conflict settings around the world. Consequently, Scorsese’s Hugo ignoresthe book’s concern with originality and, at a time when cinema is again being repositioned bytechnological change, celebrates the continuity and heritage of the medium. As Geraghty (2009) points out,adaptation is by definition dependent on another text. Thefilm’s shift in emphasis to the necessity of relationships and family, however, parallelsKristeva’s assumption that intertextuality is inevitable. The book’spreoccupation with theft indicates a Lacanian concern with the origin of subjectivity and theimplied author’s subtextual guilt about his dependence on the work of another artist. This paper argues that in each case the mediumdetermines a significant difference in the construction of subjectivity. Sanders (2006) and Hutcheon (2006) are among the many adaptation theorists whochallenge the criterion of ‘fidelity’, and yet a frequent response to Martin Scorsese’sAcademy Award-winning film Hugo is that it is faithful to Brian Selznick’s Caldecott Medalwinningbook The invention of Hugo Cabret.
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