Genre Turning Point: Difference between revisions

While a [[Wham! Episode]] can change a single series forever... sometimes, something comes out that forever alters an entire genre. It wasn't the first entry into the genre, nor was it the last, but things were never the same after it came out. This often -- butoften—but far from exclusively -- happensexclusively—happens with particularly notable [[Deconstruction|Deconstructions]]s; for example, superhero comics after ''[[Watchmen]]''. If it does happen with a Deconstruction, it generally results in years' worth of both [[Darker and Edgier]] (and possibly [[Contemplate Our Navels]]) series in imitation... and [[Reconstruction]] series in response.

** Akamatsu can rest easy knowing that actual credit for re-inventing the genre goes to ''[[Tenchi Muyo! Ryo-Ohki]]'', which refined and popularized the "harem anime" formula a full six years earlier. ''Love Hina'' was one of the first to apply the formula to a pure comedy with no fantastic elements, though.<ref>Well, no fantastic elements aside from Motoko's chi-enhanced swordplay, Suu's [[Clarke's Third Law|Clarkean]] technology and red-moon [[Transformation Sequence]], a flying turtle... Okay, forget we said "no fantastic elements".</ref>

* It was [[Men Don't Cry|NOT''not'' okay for men to cry]] in anime before ''[[Fist of the North Star]]''. Afterwards, however, tears became a symbol of [[Manly Tears|honorable masculinity]] tempered by [[Tender Tears|a kind and gentle heart.]]

* ''[[Yami to Boushi Toto Hon no Tabibito]]'' and ''[[Kannazuki no Miko]]'' showed that [[Yuri]] anime could be profitable; ''[[Simoun]]'' showed that it could be [[True Art]].

* ''[[Akira (Manga)|Akira]]''. Before it came out, it was distressingly common to see anime films and shows targeted toward older audiences horribly [[Macekre|Macekred]]d so they could fit into the [[Animation Age Ghetto]]. After it came out, people in the West finally got the idea that anime movies didn't have to be targeted towards kids at all.

* ''[[Watchmen (Comic Bookcomics)|Watchmen]]'' and ''[[Batman (Franchise)|Batman]]: [[The Dark Knight Returns]]'' more or less ushered in the [[Dark Age]] of comicbooks. ''[[Kingdom Come]]'', in turn, would end it.

* ''[[Peanuts (Comic Strip)|Peanuts]]'' changed [[Newspaper Comics]] permanently. It gave strips the license to address deep and (sometime) dark issues and not just be simple gag-a-day escapaism. However, Charles Schulz's signature simple artwork gave newspapers the idea to reduce the size of the comic panels and force all the future artists to simplify their artwork to the point where all the art look like rushed cut-and-paste jobs.

** And again with ''[[Calvin and Hobbes (Comic Strip)|Calvin and Hobbes]]'', which marked the beginning of the pushback against the "Schulzian" simplification.

* Harvey Pekar's ''[[American Splendor (Comic Book)|American Splendor]]'' showed that comics could depict adult life without idealizing it.

* ''[[Two Thousand AD (Comic Book)|2000 AD]]'' started in 1977 and has been the most popular Britsh comic of the past few decades, granted it's faded a bit but it was the starting place for influential creators like [[Alan Moore]] and [[Grant Morrison]].

* [[Chris Claremont]] starts writing the [[X -Men]]. [[Marvel Comics]] had been soap operas before that point, but Claremont's writing made the soap truly operatic in scope. Mainstream modern superhero comics, including the deconstructions of [[Alan Moore]] and others, were changed forever by the popularity of Claremont's writing style. (Yes, Byrne's art had something to do with it too, but Claremont stayed on the title a lot longer and had a lot more influence.)

* "A Fragment out of Time" published in ''Spockanalia'' (a ''[[Star Trek (Franchise)|Star Trek]]'' fanzine running through the seventies) was the first known [[Slash Fic]] to hit wide distribution. Virtually ''every'' [[Yaoi Fangirl]] can thank the unknown fanfic writer.

* ''[[HeavensHeaven's Gate (Filmfilm)|Heavens Gate]]'', although not for the same reasons as most of the other examples: it was so bad, it [[Genre Killer|killed]] the [[The Western|Hollywood Western]], [[Creator Killer|United Artists as an independent studio, and director Michael Cimino's career]]. It and other high-profile flops (''One From the Heart'', ''Sorcerer'') also killed the [[New Hollywood|auteur period]] in Hollywood.

* [[Wes Craven]] made ''[[Scream (Filmfilm)|Scream]]'' in an effort to kill the [[Slasher Movies|slasher movieMovie]] once and for all. [[Springtime for Hitler|It did the exact opposite]], [[Popularity Polynomial|breathing new life]] into a once-dying genre and starting the late '90s/early '00s [[Post Modernism]] craze in horror.

** Before that, ''[[Halloween (Filmfilm)|Halloween]]'' did the same thing, basically starting the modern slasher genre. Two years later, ''[[Friday the 13th (Filmfilm)|Friday the 13 th]]'' turned the slasher flick into a [[Horror]] staple by focusing on the exploitation part of it.

* ''[[Die Hard (Film)|Die Hard]]'' did this for the action movie. Sure, there were smart thrillers beforehand -- ''[[Die Hard (Film)|Die Hard]]'' itself could be seen as something of a remake of ''[[North Sea Hijack]]'' -- but—but after it came out, there were far fewer action films that featured invincible, unstoppable heroes (Schwarzenegger, Stallone) whose plots depended entirely on [[Ass Pull|Ass Pulling]]ing solutions out of thin air than there were before. Plus, not many films rewrite the rules for the genre so heavily that an [[Die Hard Onon an X|entire subgenre]] forms around them.

* And just a few years after that, ''[[The Bourne Series (Filmfilm)|The Bourne Identity]]'' took action movies in the other direction, filling them with grit and stripping them down to basics in a seeming backlash against the over-the-top style of ''[[The Matrix (Film)|The Matrix]]''. It also took cinematic [[Spy Fiction]] away from the flashy, over-the-top "[[Tuxedo and Martini|Martini]]" style seen in the [[Pierce Brosnan]] [[James Bond (Filmfilm)|Bond]] films and more in a "[[Darker and Edgier|Stale Beer]]" direction, to the point where even [[Casino Royale (Film)|the most recent]] [[Quantum of Solace (Film)|Bond films]] followed its lead.

* ''[[Forbidden Planet (Film)|Forbidden Planet]]'' was the film that revolutionized film and television science fiction.

* [[Sergio Leone]]'s [[Dollars Trilogy]]. These films weren't the first [[Deconstruction|deconstructionistdeconstruction]]ist [[The Western|Westerns]] -- the—the classics ''[[High Noon]]'' and ''[[The Searchers]]'' came out a decade before them -- butthem—but they left a far more lasting impact on the genre than those two films did. All of a sudden, the [[Black and White Morality]] that was nearly omnipresent in the genre vanished, replaced with the grittier, more morally gray attitudes seen in such films as ''[[The Wild Bunch]]'', ''[[High Plains Drifter]]'' and, much later, ''[[Unforgiven]]''. Every single Western made since the mid-'60s owes something to Leone's masterpiece.

* ''[[Star Wars]]''. While ''[[Jaws (Filmfilm)|Jaws]]'' is usually regarded as the first modern "blockbuster" movie, this was the one that proved that kids -- akids—a demographic ignored by most 1970s movies -- weremovies—were audience members too, that [[Merchandise-Driven|merchandising spinoffs]] were a potential gold mine, that escapist sci-fi wasn't as [[B-Movie|disposable as once thought]], and that fantasy in general was an untapped resource. The whole [[George Lucas Throwback]] genre originated here, and while [[Follow the Leader]] meant there were many crappy imitators within the years that followed, it did lead directly to [[Superman (Comic Book)|Superman]] getting [[Superman (Filmfilm)|a big movie of his own]], thus launching the rise of cinematic comic book adaptations. It was also helped launch the revival of rival series ''[[Star Trek (Franchise)|Star Trek]]''. Indeed, some blame this movie for hastening the end of the "New Hollywood" era and leading to the dumbed-down [[Summer Blockbuster]] mentality of the industry today. Especially once the ''sequels'' arrived...

* The ''[[Superman (Filmfilm)|Superman]]'' movie proved once and for all that comic book adaptations didn't need to be cheesy or silly, with terrible budgets & special effects.

* Although there have been occasional big budget [[Comic Book Adaptation|comic book movies]] dating back to ''[[Superman (Filmfilm)|Superman]]'' (and filmed serials before that), the current boom in comic films got its start when ''[[Blade (Filmfilm)|Blade]]'' was a hit at the box-office, followed shortly thereafter by ''[[X-Men (Filmfilm)|X-Men]]''.

** ''Blade's'' influence can be seen thusly: Prior to ''Blade,'' the ''only'' theatrically-released movies based on Marvel Comics-owned properties, ''ever'', were a [[Captain America (comics)]] serial from the 1940s, ''[[Red Sonja (Film)|Red Sonja]]'', the 1989 [[Dolph Lundgren]] version of ''[[The Punisher (Filmfilm)|The Punisher]]'', and ''[[Howard the Duck (Filmfilm)|Howard the Duck]]''.<ref>Yes, there was also a 1990 adaptation of [[Captain America (comics)]] and a 1994 adaptation of [[The Fantastic Four (Filmfilm)|The Fantastic Four]], but the former went [[Direct- to-video Video]] and the latter was never even released.</ref> Now, you can't have a summer without one.

* In an amazing coincidence, just as ''[[Watchmen]]'' and ''[[The Dark Knight Returns]]'' took comic books in a [[Darker and Edgier]] direction, ''[[Dark Knight Trilogy|The Dark Knight]]'' and [[Watchmen (Filmfilm)|the film adaptation]] of ''[[Watchmen]]'' seem to be having the same effect on comic book movies.

** Whoa whoa, ''[[Batman (Filmfilm)|Batman]]'' easily did that first twenty years earlier.

*** Both films have marked major turning points for the comic book movie. The influence of Tim Burton's ''[[Batman (Filmfilm)|Batman]]'' cannot be denied but neither can the influence of the ''[[The Dark Knight Saga (Film)|The Dark Knight Saga]]''.

* While we're still on the subject of comic book movies, the notorious ''[[Batman and Robin (Filmfilm)|Batman and Robin]]'' has been described as the moment when Hollywood realized that they couldn't just churn out crappy adaptations and expect the "built-in" fanboy audience to eat them up. Rather, they had to start treating their properties with at least a modicum of respect.

* ''[[Psycho (Film)|Psycho]]'' and ''[[Night of the Living Dead (Film)|Night of the Living Dead]]'' are, along with the ditching of the [[Hays Code]] and its replacement by the MPAA, widely credited for helping to turn the [[Horror]] genre from "stories that are a bit spooky and feature the odd death" to "stories where [[Anyone Can Die]], deaths are bloody and brutal, and sometimes even [[The Bad Guy Wins]]."

** Each of those films also helped to launch their own sub-genres of horror -- ''Psycho'' is considered to be the [[Ur Example]] of the [[Slasher MoviesMovie|slasher genre]], while ''Night'' single-handedly invented [[Our Zombies Are Different|modern zombie fiction]].

* ''[[Shrek]]'' ushered in a period of [[Deconstruction]] for fairy tales, resulting in [[Fractured Fairy Tale|Fractured Fairy Tales]]s such as ''[[Enchanted]]'', ''[[Happily N 'Ever After]]'', and ''[[Hoodwinked]]''. The genre has recently begun [[Reconstruction]], with ''[[The Tale of Despereaux]]'', ''[[The Princess and Thethe Frog]]'' and ''[[Tangled (Disney)|Tangled]]''.

** Shrek is also blamed by fans of traditional animation for [[Genre Killer|ending the dominance of traditional animation]] and about the rise of [[All CGI Cartoons]] laden with [[Shout-Out|pop cultural references]] that would become dated within months, an over-reliance on [[Toilet Humor]], overuse of [[Parental Bonus]] and [[Getting Crap Past the Radar]] to the point where it gets annoying, and gratuitous celebrity casting. Granted, [[Looney Tunes|Warner Bros.]] had done pop cultural references [[Older Than They Think|back in the]] [[Golden Age of Animation]]; [[Disney Animated Canon|Disney]] often cast big name celebrities in their films since ''[[Aladdin (Disney film)|Aladdin]]'', and pretty much EVERY animation studio has slipped crap past the radar in their films, but Shrek and [[Shark Tale|similar]] [[Madagascar|movies]] are the culmination of these trends, for better or for worse.

* ''[[Snow White and Thethe Seven Dwarfs (Disney film)|Snow White and The Seven Dwarfs]]'' showed that not only can animation be entertaining and longer than 5 minutes, but that the audience can be emotionally connected with animated characters.

* The ''[[Harry Potter (Filmfilm)|Harry Potter]]'' film series arguably did this for the entire [[Summer Blockbuster]]. At least, in [[Moviebob]]'s [https://web.archive.org/web/20140301064431/http://www.escapistmagazine.com/videos/view/escape-to-the-movies/3688-Harry-Potter-and-the-Deathly-Hallows-Part-II opinion:]

{{quote| [''[[Harry Potter]]'' is] a film series that, for better or worse, seems to have kicked off and excelled at every major trend in modern movie-making for the last decade. Things like the boom in the [[Fantasy]] genre, to the reliance on [[Derivative Works|recognized franchise names]], to the idea of [[Marvel Cinematic Universe|long-running cinematic continuity]], can all be traced back to this one game-changing production. Like it or not, the entire scope of movies are now living in the world that ''[[Harry Potter]]'' created.}}

* Together with the aforementioned ''Potter'', the ''[[The Lord of the Rings (Filmfilm)|Lord of the Rings]]'' films greatly raised the prestige of fantasy movies, much as the books had done for fantasy literature. Before then, fantasy films had mostly been (at best) [[B-Movie|B movies]] like ''[[Conan the Barbarian]]'' or kids' films like ''[[The Neverending Story (Filmfilm)|The Neverending Story]]''. After ''The Return of the King'' went home with eleven Oscars, though, few people could successfully argue that a movie wasn't [[True Art]] [[Fantasy Ghetto|just because it featured elves, trolls and wizards]].

** And of what Tolkien didn't start, [[CSC. LewisS. (Creator)Lewis|CS Lewis]] probably did with ''[[The Chronicles of Narnia]]''. Not surprisingly, the authors were friends.

** Terry Brooks was the first fantasy authorTolkien-follower to be a best-selling author, and is considered to be the author that turned fantasy literature from a fringe cult phenomenon into a real industry. Interestingly, although his first [[Shannara]] book was heavily influenced by Tolkien, he also introduced some fantasy conventions of his own, such as a less formal writing style.

* [[John W. Campbell]], a popular science fiction writer and magazine editor, is generally credited by Asimov, Clarke, Heinlein, and other science fiction writers as being responsible for nurturing their talents and for bringing higher standard of storytelling to the science fiction genre, which had previously consisted mostly of [[Utopia|utopianutopia]]n literature, stories of aliens and fantastic gadgets, and [[Spacespace Western|space Westerns]]s. Genre historians often date the beginning of science fiction's Golden Age as being 1938, the year Campbell assumed editorship of ''[[Astounding Science Fiction]]'' magazine.

* ''[[Don Quixote (Literature)|Don Quixote]]'' was not only the first "modern" novel, but it also single-handedly killed "knight stories" ([[Chivalric Romance]], adventure stories with a [[Knight in Shining Armor]] as the main character -- thinkcharacter—think [[King Arthur]] & co.)

* ''[[Moll Flanders (Literature)|Moll Flanders]]'' changed the novel forever. Defoe's realism made it unlike anything which had gone before; his plot was completely original, in an age of reworking classic plots; and his narrator was something new and very interesting.

* [[HPH.P. Lovecraft]] went from simple stories of the macabre and ghost stories to [[Cosmic Horror]], which changed the face of the horror genre forever.

* ''[[Star Trek (Franchise)|Star Trek]]'' and ''[[Star Wars]]'' were (and still are) considered the bastions of American [[Science Fiction]], both being notable for their 'optimistic' views. ''[[Babylon 5]]'' and ''[[Star Trek Deep Space Nine (TV)|Star Trek: Deep Space Nine]]'' started taking sci-fi in a new direction, away from the space opera/Western in Space concept and made them more character driven dramas, in the vein of cop shows almost. This started a slow but steady shift in the television sci-fi genre that later yielded ''[[Farscape (TV)|Farscape]]'', ''[[The X -Files]]'', and culminating in the reimagined ''[[Battlestar Galactica Reimagined(2004 TV series)|the reimagined ''Battlestar Galactica'']]'' and ''[[Stargate Universe (TV)|Stargate Universe]]''.

* ''[[Lost (TV)|Lost]]'' popularized the idea of shows built around long-term [[Myth Arc|myth arcs]] that [[Mind Screw|jerk the viewer's mind around]], as well as bringing sprawling, [[Soap Opera]]-style storylines into TV sci-fi. While it has its antecedents (''[[The X-Files (TV)|The X-Files]]'', the aforementioned ''B5''), the boom in such programming after ''LOST'''s success shows why the trope is called the ''[[Noughties Drama Series]]'' [[Noughties Drama Series|Drama Series]].

* In the late '90s and early '00s, [[HBO]] shows like ''[[The Sopranos]]'', ''[[Series/The Wire|The Wire]]'' and ''[[Oz (TV)|Oz]]'', with their focus on cinematography, acting, and complex themes and storylines developed through sharp writing and in-depth characters, proved that television productions can be just as good as Hollywood movies, and that cable television could seriously compete with the broadcast [[Networks]] on their own turf.

* ''[[Seinfeld]]'' changed the the way [[Sit ComSitcom]] characters and stories are portrayed so completely that the original series seems [[Seinfeld Is Unfunny|derivative]] in the new context it created.

* For better or worse, ''[[Lizzie McguireMcGuire]]'' and ''[[That's So Raven]]'' invented the modern-day [[Idol Singer]]-centric tween sitcom.

* The [[Grunge]] band [[Nirvana (Music)|Nirvana]] is often credited with putting the final nail in the coffin of [[Hair Metal]] and sparking a return to [[Three Chords and Thethe Truth]].

* [[Black Sabbath (Music)|Black Sabbath]]'s first album for heavy metal. If a heavy metal band says they're not influenced by them, they're lying.

* [[ECW]] brought hardcore wrestling to North America, made luchadores popular in the United States, and made professional wrestling [[Darker and Edgier]] at a time when the two biggest promotions, the [[WWEWorld Wrestling Entertainment|WWF]] and [[WCW]], were still putting out an altogether [[Lighter and Softer]], more comic-book-ish product. Amazingly enough, WCW, part of the Time Warner media empire, and WWF, a multi-million dollar entertainment company in its own right, ended up taking their cues from a tiny promotion that ran shows out of a converted bingo hall in South [[Useful Notes/Philadelphia (useful notes)|Philadelphia]].

* The [[WWEWorld Wrestling Entertainment|WWF]] also had one at some point between 1996 and 1998, but mileage varies on what exactly it was. Some people cite Steve Austin's victory at King of the Ring 1996 and resulting Austin 3:16 promo, which made him the only thing to rival the New World Order in popularity. Others cite Austin's match against Bret Hart, face of the WWF along with Shawn Michaels, at Wrestlemania XIII, when Austin turned face and Hart heel. Others will cite the formation of D-Generation X, an edgy, raunchy stable that was somewhat NWO influenced (it had members of [[The Kliq]] in it as well, after) and feuded with the Hart Foundation, Bret Hart's group. Resulting from that feud was Michaels and Hart's match at Survivor Series 1997, Hart's last match in the WWF under his current contract. The match was to end ambiguously and Hart was to surrender his championship the next day on Raw, but Michaels, Vince McMahon and Triple H conspired to end the match without Hart's knowledge. This event created the Mr. [[Mc Mahon]]McMahon character and a decade's worth of unmitigated hostility between Hart and those involved. The final event is Austin's match against Michaels at Wrestlemania XIV, when Austin defeated Michaels and in the words of JR "The Austin Era (had) begun." This event kickstarted the Austin-McMahon feud, which would be the focal point of the entire company for three years, in the company's most successful or second most successful era, The [[Attitude Era]].

* ''[[Oklahoma!]]'' changed the musical theatre genre from fluffy entertainment into legitimate theatre.

** Well, ''[[Oklahoma!]]'' gave musical theatre the format of the use of song, dialogue, and dance, but it was ''[[Show Boat]]'' that first made musical theatre into legitimate theatre.

*** ''[[Oklahoma!]]'' was not the first musical to use song, dialogue, and dance - those three things were in every musical. What ''[[Oklahoma!]]'' did was integrate those three elements in a mature and realistic fashion (well, as realistic as breaking into song ever can be.)

* [[Aeschylus]] did this for drama -- [[Older Than Feudalism|2500 years ago]] -- when—when he made drama using contemporary, rather than mythical, themes.

** Their first Las Vegas resident show, ''[[Mystere]]'', helped change that city's entertainment scene. Siegfried and Roy's magic show at the Mirage had opened four years prior and was also a big game changer after years of increasingly stale showgirl revues, but ''Mystere'' was actually taken seriously as theater, to the point that [[Time (magazine)|''Time'' magazine]]'s theater critic named it one of the best shows of 1994. While it would lead to many acclaimed sister productions in the city, other Vegas casino-hotels imported such productions as Blue Man Group, ''Jersey Boys'', and ''[[The Lion King]]'', often with huge success, resulting in a much more diverse range of entertainment for tourists.

* In the field of video games, ''[[Super Mario Bros.]].'' defined the 2D platformer, as well as ensuring the resurrection of the video game home console in the United States after [[The Great Video Game Crash of 1983]].

** And then another Mario game, ''[[Super Mario 64 (Video Game)|Super Mario 64]]'', set the standard for 3D platformers for years to come, and was the first 3D platformer to successfully use a joystick.

** Yet another Mario game, ''[[New Super Mario Bros (Video Game)|New Super Mario Bros.]]'', proved with its high and unexpected popularity that looking to gaming's past is not a sign of creative stagnation. Hence, the massive influx of retro-flavored games afterward, including Nintendo's own ''[[Donkey Kong Country Returns]]''.

** [[Accidental Pun|Rarely]] does [[The Problem Withwith Licensed Games|a licensed game]] redefine conventions. Yet this is exactly what ''[[GoldenGoldenEye Eye007 (1997 (Videovideo Gamegame)|GoldenEye]]'' did long before ''Halo'', showing that consoles were perfectly viable for a [[First-Person Shooter]] while setting the standards for every shooter of its generation.

** On that note, shareware in general (where you gave away part of your program for free, and the user would pay you money for the full thing if they liked it) was seen as a really stupid idea that could never possibly make money. Apogee Software and Epic MegaGames came along and proved that the model ''could'' be profitable, at least with games. Apogee made a lot of money with the game series ''Kingdoms of Kroz'', and Epic with ''ZZT''. Keep in mind this is way BEFORE the days of the Internet, which made distributing shareware easy. Apogee later changed their name to 3D Realms and created ''[[Duke Nukem 3D (Video Game)|Duke Nukem 3D]]'', and Epic went on to create the ''[[Unreal]]'' and ''[[Gears of War]]'' series.

** Similarly, ''[[Quake (Video Gameseries)|Quake]]'' was the first FPS game with built-in internet multiplayer, which is now the defining characteristic of the genre.

* The [[X BoxXbox]] Live service (and its child service, the Xbox Live Arcade) provided two previously rare functions on consoles -- itconsoles—it allowed for the onset of downloadable content expansions to console games, and it allowed for the download of small games directly to a console's hard drive, starting with titles such as Namco arcade games. With the Xbox 360, this eventually allowed for the download of entire Xbox games, but this and several other download networks ushered in a new era of independently produced games, which themselves are sometimes deconstructions and reconstructions of classical video-game concepts. The industry has essentially come full-circle.

* ...and ''[[Kanon]]'' to thank for giving the ''male protagonist'' a personality, as well as (and the two are connected) making [[Porn Withwith Plot]] [[Eroge]] just as marketable as [[Porn Without Plot]] games (though the developers had previously done ''ONE -kagayaku kisetsu e-, Moon.,'' and ''Dousei'' before forming [[Key Visual Arts|their own studio]], none of these games had the impact that ''Kanon'' had).

* Speaking of ''[[Toy Story (franchise)|Toy Story]]'', it spawned the entire [[All CGI Cartoon|CG boom in animation]], which eventually took over Western animated film.

* ''[[Batman: theThe Animated Series]]'' allowed comic book superhero <s> cartoons</s> animated series to move past the [[Animation Age Ghetto]] of the [[Super FriendsSuperfriends]], with heroes and villains that have complex motivations and (often) tragic back stories, and spawned a very well-remembered [[DCAU|franchise]]

* The US Constitution's Bill of Rights and the French Declaration of the Rights of Man and of the Citizen, both of which were first drafted in 1789, are the [[Trope Codifier|Trope Codifiers]]s for the modern concepts of liberal democracy and human rights.