LEADER 03119 am 22005773u 450 001 9910136756203321 005 20230621141046.0 010 $a1-925022-91-9 035 $a(CKB)3710000000656057 035 $a(MiAaPQ)EBC4529777 035 $a(OCoLC)931672644 035 $a(WaSeSS)IndRDA00125332 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/30877 035 $a(EXLCZ)993710000000656057 100 $a20200706d2016 uy 0 101 0 $aeng 135 $aurmn#nnn||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe Rahui $elegal pluralism in Polynesian traditional management of resources and territories /$fedited by Tamatoa Bambridge 210 $cANU Press$d2016 210 1$aActon, Australian Capital Territory :$cAustralian National University Press,$d2016. 215 $a1 online resource (xi, 269 pages) $cillustrations, maps; digital, PDF file(s) 225 1 $aANU Press Pacific series 311 08$aPrint version: 9781925022797 320 $aIncludes bibliographical references. 327 $apt. 1. Tapu and rahui : traditions and pluralistic organisation of society -- pt. 2. Rahui today as state-custom pluralism. 330 $aThis collection deals with an ancient institution in Eastern Polynesia called the rahui, a form of restricting access to resources and/or territories. While tapu had been extensively discussed in the scientific literature on Oceanian anthropology, the rahui is quite absent from secondary modern literature. This situation is all the more problematic because individual actors, societies, and states in the Pacific are readapting such concepts to their current needs, such as environment regulation or cultural legitimacy. This book assembles a comprehensive collection of current works on the rahui from a legal pluralism perspective. This study as a whole underlines the new assertion of identity that has flowed from the cultural dimension of the rahui. Today, rahui have become a means for indigenous communities to be fully recognised on a political level. Some indigenous communities choose to restore the rahui in order to preserve political control of their territory or, in some cases, to get it back. For the state, better control of the rahui represents a way of asserting its legitimacy and its sovereignty, in the face of this reassertion by indigenous communities. 410 0$aPacific series. 606 $aLegal polycentricity$zPolynesia 607 $aPolynesia$xHistory 610 $acultural identity 610 $aresource management 610 $aeastern polynesia 610 $arahui 610 $aCoconut 610 $aLagoon 610 $aMarquesas Islands 610 $aTapu (Polynesian culture) 615 0$aLegal polycentricity 676 $a342.085297 686 $a341.193$2Moys 700 $aBambridge$b Tamatoa$4auth$01288237 702 $aBambridge$b Tamatoa 801 0$bWaSeSS 801 2$bUkMaJRU 906 $aBOOK 912 $a9910136756203321 996 $aThe Rahui$93385036 997 $aUNINA LEADER 04961nam 2201009Ia 450 001 9910782201003321 005 20230207225607.0 010 $a1-282-35839-1 010 $a0-520-93952-2 010 $a9786612358395 024 7 $a10.1525/9780520939523 035 $a(CKB)1000000000520655 035 $a(EBL)265555 035 $a(OCoLC)227038187 035 $a(SSID)ssj0000276833 035 $a(PQKBManifestationID)11219873 035 $a(PQKBTitleCode)TC0000276833 035 $a(PQKBWorkID)10226182 035 $a(PQKB)11452008 035 $a(MiAaPQ)EBC265555 035 $a(MdBmJHUP)muse30690 035 $a(DE-B1597)520558 035 $a(DE-B1597)9780520939523 035 $a(Au-PeEL)EBL265555 035 $a(CaPaEBR)ebr10132126 035 $a(CaONFJC)MIL235839 035 $a(dli)HEB08012 035 $a(MiU)MIU01000000000000009619028 035 $a(EXLCZ)991000000000520655 100 $a20050906d2006 ub 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAmericanizing the movies and "movie-mad" audiences, 1910-1914$b[electronic resource] /$fRichard Abel 210 $aBerkeley $cUniversity of California Press$dc2006 215 $a1 online resource (392 p.) 300 $aDescription based upon print version of record. 311 $a0-520-24743-4 311 $a0-520-24742-6 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIllustrations --$tAcknowledgments --$tL'Envoi of Moving Pictures --$tIntroduction --$tChapter 1. American Variety and/or Foreign Features --$tEntr'acte 1. Mapping the Local Terrain of Exhibition --$tChapter 2. The "Usable Past" of Westerns --$tEntr'acte 2. Moviegoing Habits and Everyday Life --$tChapter 3. The "Usable Past" of Westerns --$tEntr'acte 3. A "Forgotten" Part of the Program --$tChapter 4. The "Usable Past" of Civil War Films --$tEntr'acte 4. Another "Forgotten" Part of the Program --$tChapter 5. The "Usable Present" of Thrillers --$tEntr'acte 5. Trash Twins --$tChapter 6. "The Power of Personality in Pictures" --$tNotes --$tBibliography --$tIndex 330 $aThis engaging, deeply researched study provides the richest and most nuanced picture we have to date of cinema-both movies and movie-going-in the early 1910's. At the same time, it makes clear the profound relationship between early cinema and the construction of a national identity in this important transitional period in the United States. Richard Abel looks closely at sensational melodramas, including westerns (cowboy, cowboy-girl, and Indian pictures), Civil War films (especially girl-spy films), detective films, and animal pictures-all popular genres of the day that have received little critical attention. He simultaneously analyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. Drawing from a wealth of research in archive prints, the trade press, fan magazines, newspaper advertising, reviews, and syndicated columns-the latter of which highlight the importance of the emerging star system-Abel sheds new light on the history of the film industry, on working-class and immigrant culture at the turn of the century, and on the process of imaging a national community. 517 3 $aImagined community of United States cinema 606 $aMotion pictures$zUnited States$xHistory 606 $aMotion pictures$xSocial aspects$zUnited States 606 $aNationalism$zUnited States 610 $a1910s. 610 $aamerican cinema. 610 $aamerican history. 610 $aamericanizing film. 610 $aanimal films. 610 $aanthropologists. 610 $acinema studies. 610 $acivil war films. 610 $acritical analysis. 610 $adetective films. 610 $aearly cinema. 610 $afilm distribution. 610 $afilm historians. 610 $afilm industry. 610 $afilm scholars. 610 $afilm studies. 610 $aimmigrant culture. 610 $amovie audiences. 610 $amoviegoing. 610 $anational identity. 610 $anonfiction study. 610 $apopular film genres. 610 $asensational melodramas. 610 $asociologists. 610 $aunited states. 610 $awesterns. 610 $aworking class culture. 615 0$aMotion pictures$xHistory. 615 0$aMotion pictures$xSocial aspects 615 0$aNationalism 676 $a791.430973 700 $aAbel$b Richard$f1941-$0237554 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910782201003321 996 $aAmericanizing the movies and "movie-mad" audiences, 1910-1914$91684991 997 $aUNINA