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Paul Henley

towards the end of the decade, as film-makers prepared for the International Colonial Exposition of 1931 in Paris, where, over the course of six months, some 300 films on colonial subjects were screened in a cinema of 1,500 seats. While most of these films concerned colonial modernising projects – roads, ports, forest industries, hospitals, campaigns against sleeping sickness and so on – a considerable number were exclusively or predominantly concerned with social and cultural aspects of indigenous life within particular colonies. 26

in Beyond observation
Political and contemporary contexts of the Shows
Tracey Hill

in the City at large to prompt the audience reaction described by Busino, as discussed previously. Middleton also updates Munday’s approach in The triumphs of re-united Britania to King James as the embodiment of union when in The Triumphs of loue and antiquity he has ‘seuerall Countries . . . all owing Fealty to one Soueraigne’. By 1619 James’s realm, as depicted in the Show, has expanded across the seas to include the colonial subjects not mentioned by Munday, who concentrated on ‘Britain’.105 For Middleton, however, the Noble English, the faire thriuing Scot

in Pageantry and power
Open Access (free)
A pluralist theory of citizenship
Rainer Bauböck

contexts. Until independence in 1962, Algeria was legally incorporated into the French territory. If ASC is interpreted as a claim for membership inclusion, then the colonial subjects in Algeria had a right to equal citizenship in France rather than to independence from France. A democratic principle of membership must link individual inclusion claims to collective self-government claims in order to avoid a status quo bias in favour of unjust

in Democratic inclusion