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\"A groundbreaking collection of original essays, Stages of Reality establishes a new paradigm for understanding the relationship between stage and screen media. This comprehensive volume explores the significance of theatricality within critical discourse about cinema and television.

[...]a pair of slasher films that do not possess a Final Girl will be examined in order to demonstrate that Clover’s methodology can still be utilized in these cases by decentralizing her focus on gender relations, in lieu of a relationship between the pre-symbolic abject and the symbolic. [...]even after we are aware that the monster is female, if we view the relationship between the monster and Final Girl as one between the pre-symbolic and the symbolic, Urban Legend’s structuralist framework still adheres to the Cloverian relationship. First is bisexuality, which “represents the most obvious and direct affront to the principle of monogamy and its supportive romantic myth of ‘the one right person’; the homosexual impulse in both men and women represents the most obvious threat to the ‘norm’ of sexuality as reproductive and restricted by the ‘ideal’ of family.” If this is the case, the question that must be posed to Benshoff’s interpretation is, if Freddy is the embodiment of Jesse’s internalized homophobia, why would he attempt to use Jesse to kill females? Because Freddy only partially emerges when Jesse is about to kill a female, and fully emerges to kill males for whom Jesse may be feeling homosexual urges, Freddy can be more accurately thought of as an embodiment of Jesse’s sexual confusion, which finds an allegory in bisexuality – the critical sexual energies that Wood argues is repressed by patriarchal capitalism.19 If this confusion is resultant of Jesse’s unstable sexual identity, it can be seen as indicative of his pre-symbolic status (as well as Freddy’s since he is the embodiment of this confusion) through his inability to articulate his sexual identity.

With Hayden White's notion of the \"content of the form\" of narrative as a starting point, this article argues that the melodramatic form of Steven Spielberg's Schindler's List (1993) constitutes a distinct mode of historical representation that must be critically accounted for alongside the manifest content of the film. This argument is made by linking Linda Williams' discussion of melodrama as an operative mode concerned more with the emotional retrieval of innocence than with rational psychological causality to Peter Brooks's invocation of Freudian case studies to understand how narratives can work towards the revelation of an original \"truth\" whose ontological status is unclear. Through this integration of Williams and Brooks, the melodramatic quality at play in Schindler's List, which is often read as a liability against the film's representation of history as it affords access to registers of emotional excess that cannot be explained through narrative logic, can be understood as an essential feature of the film's historiography. Moreover, given this tendency towards emotional excess rather than rational causality, this article suggests that the melodramatic historical form can productively address (although not necessarily resolve) the epistemological challenges posed by the Holocaust to representational rendering.

A dedication panel outside the new exhibition space explicitly gives tribute to these survivors, many of whom have generously shared their stories and artifacts with the HEC over the years. Yet while retaining such features that are intimately bound to the HEC's history and mission, the new exhibition makes several important updates in terms of content, interpretive approach, technology, and visitor experience. While the exhibition room focuses on the Holocaust itself-the Nazis' genocidal attempt to eradicate the Jewish people-the entry alcove is designed to provide crucial context for this through two avenues: 1) an exploration of the history of antisemitism, and 2) an overview of Jewish life that existed in Europe before the Holocaust. The intention of positioning this content before the exhibition space is clear-that one cannot begin reflecting on the Holocaust without first considering the long history of antisemitism that preceded it and the vibrant and diverse Jewish communities in Europe that were eradicated in the Shoah.

[...]the TRCs performative articulation of a \"unified South Africa\" cannot accommodate conflicting interpretations that exist within the fully heterogeneous \"national subject\" that question the practical and ethical viability of a nation established through the TRCs specific articulation. Since the \"performative necessity\" of the TRC invariably conceives of the nation as a Subject to identified (or constituted as a Subject specifically articulated by the TRC) through a process of truth and reconciliation, it fails to acknowledge that the nation, and consequently, any ideal of what the nation should be, only comes into existence via the articulation of heterogeneous individuals and thus exists as a subject to those individuals (and not vice versa). [...]it is the TRCs willingness to accept this \"justification\" as fulfilling the necessary conditions for amnesty that ultimately drives Langston to the home of De Jager (Brendan Gleeson), a former Afrikaner colonel whose \"bosses\" have \"thrown [him] to the wolves\" by calling him \"a psychopath who murdered and tortured for the fun of it.\" [...]the sexualized reconciliation between Anna and Langston, accompanied in the film by soft music and romantic lighting, has very explicit, practical consequences on Anna's marriage. [...]Night of Truth appropriates the concept of lieux de mémoires by establishing a site that conforms to the three senses that Nora argues are essential for such a site: it is material (a grave), symbolic (standing in for unification), and functional (acting as a reminder).39 As the Nayaks and Bonandés gather around the joint burial of Edna and Théo, Soulu stresses the importance of this monumental reminder that simultaneously embodies the divisiveness and violence of the past by containing the bodies of two murder victims whose deaths were consequent in some way of tribal divisions, and the hopes of unification in the future by placing the bodies of the murderer and the murdered side by side for \"eternity.\" Because suspicion both between and within the Nayaks and the Bonandés suggests that there is no a priori unified state that a gesture of reconciliation can appeal to, the deaths of Théo and Edna can be thought of as sacrifices that afford the establishment of a site of memory that is a necessary condition for reconciliation.

Many nations use ecological compensation policies to address negative impacts of development projects and achieve No Net Loss (NNL) of biodiversity and ecosystem services. Yet, failures are widely reported. We use spatial simulation models to quantify potential net impacts of alternative compensation policies on biodiversity (indicated by native vegetation) and two ecosystem services (carbon storage, sediment retention) across four case studies (in Australia, Brazil, Indonesia, Mozambique). No policy achieves NNL of biodiversity in any case study. Two factors limit their potential success: the land available for compensation (existing vegetation to protect or cleared land to restore), and expected counterfactual biodiversity losses (unregulated vegetation clearing). Compensation also fails to slow regional biodiversity declines because policies regulate only a subset of sectors, and expanding policy scope requires more land than is available for compensation activities. Avoidance of impacts remains essential in achieving NNL goals, particularly once opportunities for compensation are exhausted. Countries are adopting ecological compensation policies aimed at achieving no net loss of biodiversity and ecosystem services. Here, Sonter and colleagues apply spatial simulation models to case studies in Australia, Brazil, Indonesia, and Mozambique to show that compensation alone is not sufficient to preserve biodiversity.

Australia’s 2019–2020 mega-fires were exacerbated by drought, anthropogenic climate change and existing land-use management. Here, using a combination of remotely sensed data and species distribution models, we found these fires burnt ~97,000 km 2 of vegetation across southern and eastern Australia, which is considered habitat for 832 species of native vertebrate fauna. Seventy taxa had a substantial proportion (>30%) of habitat impacted; 21 of these were already listed as threatened with extinction. To avoid further species declines, Australia must urgently reassess the extinction vulnerability of fire-impacted species and assist the recovery of populations in both burnt and unburnt areas. Population recovery requires multipronged strategies aimed at ameliorating current and fire-induced threats, including proactively protecting unburnt habitats. An assessment of the habitat of native vertebrate species burnt by the 2019–2020 Australian mega-fires shows that 70 taxa were severely affected.

Loss of habitats or ecosystems arising from development projects (e.g., infrastructure, resource extraction, urban expansion) are frequently addressed through biodiversity offsetting. As currently implemented, offsetting typically requires an outcome of “no net loss” of biodiversity, but only relative to a baseline trajectory of biodiversity decline. This type of “relative” no net loss entrenches ongoing biodiversity loss, and is misaligned with biodiversity targets that require “absolute” no net loss or “net gain.” Here, we review the limitations of biodiversity offsetting, and in response, propose a new framework for compensating for biodiversity losses from development in a way that is aligned explicitly with jurisdictional biodiversity targets. In the framework, targets for particular biodiversity features are achieved via one of three pathways: Net Gain, No Net Loss, or (rarely) Managed Net Loss. We outline how to set the type (“Maintenance” or “Improvement”) and amount of ecological compensation that is appropriate for proportionately contributing to the achievement of different targets. This framework advances ecological compensation beyond a reactive, ad‐hoc response, to ensuring alignment between actions addressing residual biodiversity losses and achievement of overarching targets for biodiversity conservation.