![]() After distilling and evaluating the main criticisms and claims attributed to sustainable seafood initiatives globally, we concur that the movement has successfully cultivated a demand for solutions to the challenges of seafood sustainability by creating novel interactions along the value chain – even with the modest investment of our South African example. Using a timeline of events over more than a decade and other indicators of growth, we identified key points during its six developmental stages, and evidence of entrance into the final (Normative) phase. We analyze the sustainable seafood movement as a maturing social-ecological issue. ![]() ![]() Finally, this article examines the ways in which both films were politically suppressed following their release within the Republic of Cyprus. The article also examines the ways in which these two films represent the Cyprus conflict, in particular their engagement with the prevailing nationalist ideologies at work in both Greek and Turkish Cypriot communities and the alternate concept of Cypriocentrism. Based on original interviews with their directors, this article gives an account of the production histories of the two documentaries and looks at their means through which they were distributed to the public. Panicos Chrysanthou), which looks back at the social effects of the incursion and the estrangement of the Greek and Turkish Cypriot communities. ![]() Lambros Papadimitrakis and Thekla Kittou), an anti-nationalist documentary produced in the immediate aftermath of the Turkish incursion of the island, and A Detail in Cyprus (1987, dir. Two films have been selected for analysis: Cyprus: The Other Reality (1976, dir. This article examines the production of documentary films about the Cyprus conflict produced between the late 1970 and late 1980s. Film and media are instrumental in creating and implementing shifts in viewpoints that foster change within the individual and the collective of society. Deliberate activation of this process is the goal of the cause related documentarian. Through film, a collective shift in worldview can be activated when enough individuals throughout society know and understand that change is imminent and necessary. Shifting an individual’s fixed perspective requires an alteration in thinking. The foundation for building a new framework through an application of knowledge is shaped as visual connections are created by the documentary on the viewer. Documentaries that are related to causes can be part of this process is that it holds the potential to provoke action and evoke an emotional response. By challenging the status quo and creating a definitive alteration in perception when circumstances and information prove the former viewpoint or worldview is no longer valid. In many instances, film, educates and elucidates-thus facilitating a shift of perspective. I still can’t believe I had the luck to see it.Radically altering or expanding the worldview of an individual or the collective of society requires the interacting media to engage and invoke an emotional response. I went out and bought a Stratocaster like Dave Gilmour’s soon after. I was 16, wanting to be a rock star, and they actually talked about how they made their songs. I hadn’t known this period of Pink Floyd. We’d see anything in Oklahoma City to pass the time, and we were the only kids in the theatre, smoking a joint. I wouldn’t have known it existed if I hadn’t gone to see a terrible Don Johnson movie, A Boy and His Dog, in a double bill with my brother. Born in Pittsburgh in 1961, Coyne grew up in Oklahoma City, where he now lives with his wife and baby son. In 2005 he appeared in a documentary about the Flaming Lips called The Fearless Freaks, and three years later released his own sci-fi feature film, Christmas on Mars. The band has released 15 studio albums, including At War With the Mystics, which won two Grammy awards in 2006. Wayne Coyne is the lead singer of the Flaming Lips, which he founded in 1983.
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