![]() Curtis returned to TV in 2015 with the mini-series "Indian Summer," which debuted on British television in the summer of 2015. Despite starring Ryan Reynolds and Oscar-winner Helen Mirren, however, the film received generally lukewarm reviews from critics. Curtis' follow-up feature, 2015's "Woman In Gold," was released in the United States in April of 2015. The film was also nominated for two Oscars, in addition to countless other awards, thus signaling the rise of Simon Curtis as a critically-lauded British filmmaker. Curtis jumped at the chance and in November of 2011, "My Week with Marilyn" was released to wide critical praise. ![]() ![]() He had the opportunity when famed Hollywood producer Harvey Weinstein approached him about directing a biopic on a brief period in the life of Marilyn Monroe. By the late 2000s, however, Curtis started itching to direct a feature film. ![]() Curtis continued producing and directing shows for British television well into the 2000s, and went on to earn a Primetime Emmy nomination for his children's program "Pride" (BBC, 2004). Dalloway" (1997), and "David Copperfield" (1999), the last of which he also directed. Some of the projects he worked on during this period included "Killing Me Softly" (1995), "Mrs. Equipped with the confidence and knowledge he needed to make his own material, Curtis embarked on a career in TV in the early '90s and quickly made his name as an effective producer and director of made-for-TV movies in Britain. It was during this time that Curtis, who himself had dreams of helming his own film and TV projects one day, learned the craft from some of England's best filmmakers, like Danny Boyle. This process is experimental and the keywords may be updated as the learning algorithm improves.Simon Curtis was a British filmmaker and TV producer best known for helming the 2011 historical drama "My Week with Marilyn." Born and raised in London, Curtis' first brush with show business came when he was hired as an assistant director at the famed Royal Court Theatre. These keywords were added by machine and not by the authors. We then go on to consider the political stances for which assemblage thinking offers resources. We outline the multiple intellectual roots of assemblage thinking, and we show how some have treated it as an ontological position, while others have used it in a more tactical way in their research programmes. ![]() Arguing that many different approaches to assemblage thinking exist, and eschewing the temptation to try to pin this style of thought down to a fixed theoretical perspective, we try to allow this volume to be an exploration of the potential for these ideas to transform international theory. In this introduction to the volume we locate the growing interest in assemblage thinking for international relations in its intellectual and historical context. ![]()
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