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Flak may be concisely defined as political harassment and is detrimental to community for its strained ethical posture, cynicism and corrosive impact on social and political bonds of trust. Following conceptualization of flak that differentiates it from scandal and activism, this investigation focuses on Project Veritas as its case study. Veritas is a right-wing flak mill that, using media, has set out to professionally damage people and organizations across almost a decade. The investigation telescopes in on two Veritas stunts that provoked reviews by the justice systems of California and Texas. In these cases, the California Attorney General and Texas special prosecutors delivered astringent criticisms of Verita's covertly-recorded "sting" videos, while largely or wholly exonerating their flak targets (Association of Community Organizations for Reform Now [ACORN], Battleground Texas). Along with conceptualizing and critiquing flak, the investigation concludes with a call for news that extends beyond fact-checking and the limited, complacent techniques of objectivity in favor of more ambitious pursuit of truth. [ABSTRACT FROM AUTHOR]

In this article, I present an analysis of Steven Soderbergh's The Limey that is informed by auteurism and an effort to unpack the film's antinomies. Although it was not as high profile as subsequent Soderbergh films. The Limey presents an interesting entry in the director's corpus for its stylistic signature and its "liberal" politics; a political posture that, nonetheless, only extends so far in entertaining a critical discourse about the society that produced it. I begin the Investigation by filling in the background. First, I unpack the newer formulations of auteur theory and emphasize themes, stylistic signature, and social determinations in constituting auteurs. Second, I characterize the independent sector of U.S. film production and its relation to the major studios while positioning Soderbergh as a chimerical case between an independent and a studio director. Thereafter, 1 orient to the film and its place within Soderbergh's corpus. I analyze Soderbergh's striking and acclaimed stylistic signature (notably with respect to editing). Proceeding to the themes embedded in the film, I examine some of the antinomies in The Limey and their political valence. In particular, I discuss The Limey's class antinomies, its presentation of the United Kingdom in contrast with that of its former colony, the US and the tropes of femininity that circulate within the film. On the view developed here. Soderbergh's The Limey entertains some fundamental criticisms of the United States, class striation, masculinity and femininity, before making a partial and uneven retreat. [ABSTRACT FROM AUTHOR]

In this essay, I examine more than 560 articles in The Guardian (UK) and The New York Times from 2002 to 2003 in order to characterize the coverage of Spain in the two prestigious English-language newspapers. I argue that along with being more extensive, The Guardian's coverage of Spain is generally more attentive to the textures of Spanish life. Nonetheless, The Guardian also exhibits a form of Orientalism (Said, 1979) in its at times Otherizing constructions of stasis and crypto-authoritarianism in Spain. The New York Times, by contrast, often exaggerates similarity between Spain and the United States. I use the concepts of ‘personalization,’ ‘authority­disorder,’ and ‘fragmentation’ (Bennett, 2001) that frequently structure the narratives of US journalism in order to illuminate the Times' coverage. Personalization is evident particularly in the Times' coverage of the then Spanish President José María Aznar. Massive popular peace advocacy during the spring of 2003 in Spain was also understated by the Times as it was parsed into fragmentary coverage. [ABSTRACT FROM AUTHOR]