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Labor and Democracy in Namibia, 1971–1996
Gretchen Bauer
Ohio University Press, 1998

In this compelling study of labor and nationalism during and after Namibia's struggle for liberation, Gretchen Bauer addresses the very difficult task of consolidating democracy in an independent Namibia. Labor and Democracy in Namibia, 1971-1996 argues that a vibrant and autonomous civil society is crucial to the consolidation of new democracies, and it identifies trade unions, in particular, as especially important organizations of civil society. In Namibia, however, trade unions have emerged from the liberation struggle and the first years of independence in a weakened state. Dr. Bauer gives a lucid explanation for this phenomenon by tracing the origins and evolution of the trade unions in Namibia and discusses the implications thereof for the future of democracy in Namibia.

Based on material not widely available before independence in 1990, this study takes a critical look at the nationalist movement in Namibia. Through the use of dozens of interviews with political leaders, trade unionists, community activists, and others, Bauer offers the controversial suggestion that there are many within the nationalist movement (now the ruling party in government) who would rather not see a strong trade union movement (or any other potential rival) emerge in independent Namibia.

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front cover of Rewrite Man
Rewrite Man
The Life and Career of Screenwriter Warren Skaaren
By Alison Macor
University of Texas Press, 2017

In Rewrite Man, Alison Macor tells an engrossing story about the challenges faced by a top screenwriter at the crossroads of mixed and conflicting agendas in Hollywood. Whether writing love scenes for Tom Cruise on the set of Top Gun, running lines with Michael Keaton on Beetlejuice, or crafting Nietzschean dialogue for Jack Nicholson on Batman, Warren Skaaren collaborated with many of New Hollywood’s most powerful stars, producers, and directors. By the time of his premature death in 1990, Skaaren was one of Hollywood’s highest-paid writers, although he rarely left Austin, where he lived and worked. Yet he had to battle for shared screenwriting credit on these films, and his struggles yield a new understanding of the secretive screen credit arbitration process—a process that has only become more intense, more litigious, and more public for screenwriters and their union, the Writers Guild of America, since Skaaren’s time. His story, told through a wealth of archival material, illuminates crucial issues of film authorship that have seldom been explored.

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