Film Studies

Courtney Berger on the Canceled SCMS Conference

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Our editors look forward to meeting their authors at conferences every year and are sad to be missing out on that this spring. The annual meeting of the Society for Cinema and Media Studies would have taken place April 1-5 in Denver this year. We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 50% discount on all in-stock books and journal issues through May 1. In addition, if you spend $100 or more, we are offering free shipping to U.S. addresses. Journal subscriptions and society memberships don’t qualify for the 50% discount, but they do count toward the $100 threshold.

CBerger_webInstead of greeting Executive Editor Courtney Berger in person this year, check out her recommendations for new titles in the discipline and a great round up of other ways to learn about all the new scholarship that was to be presented at the conference.

Hello, SCMSers. I’m sorry that I won’t see you all in person this year. In the past couple of months, we have published an amazing range of new books in film & media studies. I was looking forward to showing them off at the conference.  I hope you’ll go to our website to see the new and forthcoming titles and take advantage of the 50% off sale. (I know, I know. It’s not the same as being able to browse books at the exhibit hall, but it’s the best we’ve got right now.) You can learn Her Storiesabout the centrality of the soap opera to the history of American tv production in Elana Levine’s Her Stories, experience the film culture of mid-20th century Paris with Eric Smoodin in Paris in the Dark, or find out about the environmental publics that emerge in India around radiant technologies like cell-phone towers in Rahul Mukherjee’s Radiant Infrastructures.

There were some exciting panels this year that I was hoping to attend that highlight some emerging areas on Duke’s media studies list. Several panels on environment and media feature work related to the new Elements series, edited by Nicole Starosielski and Stacy Alaimo. Some of these panels will be happening in virtual form during the week, so check them out if Wild Blue Mediayou can. Melody Jue’s Wild Blue Media is the latest book in the series. Jue submerges key concepts of media—such as storage and transmission—under water, asking us to reconsider conventional notions of media environment. It’s a must read for folks in media studies, in my opinion.

Also, here’s a heads up about an upcoming book series on gaming and game culture called “Power Play” that will be edited by Jen Malkowski and TreaAndrea Russworm. It’s brand new, so no books yet; but keep your eyes open for new books in this area. And if you are into queer gaming culture, check out Bonnie Ruberg’s volume The Queer Games Avant-Garde, which features interviews with 22 queer video game developers and designers.

Finally, I want to give a shout out to Eliza Steinbock, whose book Shimmering Images won this year’s SCMS Best First Book Award. Congratulations, Eliza!

Take care, everyone, and I look forward to seeing you next year.

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If you were hoping to connect with Courtney or another of our editors about your book project at SCMS, please reach out to them by email. See our editors’ specialties and contact information here and our new online submissions guidelines here.

We’re also excited to welcome liquid blackness: journal of aesthetics and black studies to our publishing program next spring. And don’t forget to check out our great new journal issues in film and media studies, including “On Chantal Akerman” from Camera Obscura, “Contemporary German and Austrian Cinema” from New German Critique, “Scenes of Suffering” from Theater, and “Multimodal Media” from Poetics Today.

Once again, we’re sorry to miss you in person but hope the 50% discount with free U.S. shipping on orders over $100 will make it possible for you to pick up some new books and journal issues. Use coupon SPRING50 at checkout and see the fine print on the sale here.

New Books in April

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Curling up on the couch with a great book is an excellent way to practice social distancing this month. All these titles will deliver before our sale ends on May 1, so check our website regularly. You can save 50% on all in-stock titles with coupon SPRING50

Tyler Bickford traces the dramatic rise of the “tween” pop music industry in Tween Pop, showing how it marshaled childishness as a key element in legitimizing children’s participation in public culture.

The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a way to negotiate violence, trauma, systemic inequality, and the aftermaths of war and colonialism. This volume is edited by Daniel Fischlin and Eric Porter.

John F. Szwed’s Space is the Place is the definitive biography of Sun Ra—composer, keyboardist, bandleader, philosopher, entrepreneur, poet, self-proclaimed extraterrestrial from Saturn, and a founder of Afrofuturism. We are pleased to be bringing this classic back into print with a new preface.

In Vital Decomposition, Kristina M. Lyons presents an ethnography of human-soil relations in which she follows state soil scientists and peasant farmers in Colombia’s Putumayo region, showing how their relationship with soil is key to caring for the forest and growing non-illicit crops in the face of violence, militarism, and environmental destruction.

Micha Rahder explores how multiple ways of knowing the forest of Guatemala’s Maya Biosphere Reserve shape conservation practice, local livelihoods, and landscapes in An Ecology of Knowledges.

In Relations, Marilyn Strathern provides a critical account of anthropology’s key concept of relation and its usage and significance in the English-speaking world, showing how its evolving use over the last three centuries reflects changing thinking about knowledge-making and kin-making.

In Virtual Pedophilia, Gillian Harkins traces the genealogy of the transformation of cultural construction of the pedophile as a social outcast into the image of normative white masculinity from the 1980s to the present, showing how his “normalcy” makes him hard to identify and stop.

In A People’s History of Detroit, Mark Jay and Philip Conklin use a Marxist framework to tell a sweeping story of Detroit from 1913 to the present, outlining the complex socio-political dynamics underlying major events in Detroit’s past, from the rise of Fordism and the formation of labor unions to deindustrialization and the city’s recent bankruptcy.

In Revolution and Disenchantment, Fadi A. Bardawil explores the hopes for and disenchantments with Marxism-Leninism in the writings and actions of revolutionary intellectuals within the 1960s Arab New Left.

In Tehrangeles Dreaming, Farzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the pop music, music videos, and television made by Iranian expatriates express modes of Iranianness not possible in Iran.

The Lonely Letters is an epistolary blackqueer critique of the normative world in which Ashon T. Crawley meditates on the interrelation of blackqueer life, sounds of the black church, theology, mysticism, and the potential for platonic and erotic connection in a world that conspires against blackqueer life.

Drawing on Whitman and Adorno, Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference society constructs as its racialized, gendered, Semitic, and sexualized other in A Democratic Enlightenment.

In Kwaito Bodies, Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of Kwaito—a style of electronic dance music that emerged following the end of apartheid.

Reflecting on the experience, philosophy, and practice of Latin American indigenous and Afro-descendant activist-intellectuals who mobilize to defend their territories from large-scale extraction, Arturo Escobar shows in Pluriversal Politics how the key to addressing planetary crises is the creation of the pluriverse—a world of many epistemological and ontological worlds.

The contributors to AIDS and the Distribution of Crises outline the myriad ways that the AIDS pandemic exists within a network of varied historical, overlapping, and ongoing crises borne of global capitalism and colonial, racialized, and gendered violence. This collection is edited by Jih-Fei Cheng, Alexandra Juhasz, and Nishant Shahani. It is currently available to read free online as part of our Navigating the Threat of Pandemic syllabus.

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La Grippe à Paris: How Paris Responded to the 1918 Influenza Epidemic, A Guest Post by Eric Smoodin

Smoodin PhotoEric Smoodin is the author of Paris in the Dark: Going to the Movies in the City of Light, 1930–1950, just published this month. He is Professor of American Studies at the University of California, Davis, and author of Regarding Frank Capra: Audience, Celebrity, and American Film Studies, 1930–1960, and coeditor of Looking Past the Screen: Case Studies in American Film History and Method, both also published by Duke University Press. This guest post is reblogged from his own blog, The Paris Cinema Project.

On March 14th, 2020, the French government announced the closing of all restaurants, museums, theatres, and cinemas, a response to the novel coronavirus, possibly the worst global public health crisis since the flu epidemic of 1918-19. But as a comparison, what exactly was the government’s response just over 100 years ago to la grippe espagnole, which killed as many as a quarter of a million people in France? More to the point of my interests here, how did the flu affect the cinema in France, and especially in Paris?

Information can be difficult to come by, largely because the press in France covered the disease only very slowly, perhaps because the government insisted so as not to cause any alarm, or perhaps because journalists simply didn’t understand the severity of the outbreak. Françoise Bouron has provided the most exhaustive analysis of the general attitudes of the press at the time. While the flu seems to have come to France in April, 1918, most newspapers and journals at first avoided it altogether, then reported that France, unlike other European countries, seemed to have been spared, and then only began to cover the national outbreak in the late-summer and early-fall.

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Prime Minister Édouard Philippe announcing the closure of all non-essential public places in France, including cinemas, on March 14th, 2020

In any case, and far different from the response of 2020, the governmental actions in 1918-19 seem to have been regional rather than national, and might vary significantly from place to place, with Paris, apparently, always doing less rather than more. In mid-October, 1918, Le Figaro reported that 700 Parisians had died from the flu during the past week, an increase of 300 from the week before. The newspaper indicated that more hospital beds were coming to the city and that schools would be disinfected but would not close. Hinting at the dense Parisian bureaucracy that may have made any decisive action difficult, Le Figaro continued that, anyway, schools could only be closed in Paris by the local government, at the suggestion of the Seine Prefect and in consultation with the Hygiene Council.

That same report in Figaro, however, let readers know that Édouard Herriot, the mayor of Lyon, had acted more decisively. Herriot, of course, was the radical socialist who would later be in and out of office as Prime Minister during multiple revolving-door governments in France during the 1920’s and ‘30’s. In Lyon, Herriot insisted that all corpses be buried immediately, demanded the daily disinfection of post offices, banks, cafés, restaurants, and train stations, and completely closed all theatres and cinemas.

Other locations did the same thing. In Périgueux, in southwestern France, schools were closed and so too were all theatres and cinemas. The Communist newspaper L’Humanité reported on those closings, and added that the ongoing Parisian response involved, yet again, more hospital beds and, in addition, thirteen thousand gallons of rum to be distributed to the city’s pharmacies and sold as a partial cure for flu.

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Édouard Herriot, who as the mayor of Lyon closed all the cinemas there during the epidemic

Assertions of official Parisian inactivity went across ideological lines. In late-October 1918, the far-rightwing newspaper L’Intransigeant wrote, “One thinks…of closing the cinemas, the theatres and even churches, as has been done in Switzerland and some French cities.” Then L’Intransigeant added that, “rather than facing anything that extreme, Parisians have been told to refrain from going anywhere they might be exposed to influenza.”

At least according to the press, aggressive actions by Herriot and others worked. In early-November, Le Journal reported that closing theatres—and it’s unclear whether this included cinemas—in Limoges, Dijon, Cherbourg, Orléans, and elsewhere had stopped the spread of flu. Le Temps wrote that “the efforts in Lyon had had their effect,” and theatres and cinemas would now reopen.

But Paris still did nothing comparable, and there was even some debate in the city about the usefulness of closures and the severity of the epidemic. On November 11th, 1918, the day that World War One ended, La Presse, a Parisian daily, devoted its front page to the Armistice. On page two, however, La Presse ran two stories about the flu. One of them insisted that the illness had declined considerably in the Parisian population (La Grippe décroit). In the other, a reporter for the paper, Lucile Laurence, wrote that city officials had given some thought to closing all cinemas and other public places, including schools. She went on, though, that even if they did, “public health would still be menaced” because of all the men who spit on streets, their germs then going into the air and onto the food that Parisians ate. On the same page, La Presse announced the opening of one of the most anticipated films of the season, Bouclette, at the very fashionable Palace-Aubert cinema in the ninth arrondissement. Bouclette featured one of the great French stars of the era, Gaby Deslys, who would die of influenza in February, 1920.

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An undated publicity photograph of the great French star Gaby Deslys, the star of Bouclette and a victim of the flu epidemic

Deslys’ film, which had a scenario by Marcel L’Herbier, was one of the great cultural events in the city just after the war. But there were also many, many others, in cinemas and in the city’s theatres. Reporting on the flu on February 23rd, 1919, Le Matin put the grim numbers next to the masthead at the top of the front page. La grippe à Paris had claimed 900 lives in the last week, an increase of 350 from the week before. Le Matin never listed the movies in Paris, but it did offer information for plays, music halls, and café-concerts, and the list is astonishing, both in terms of how much was going on and how little the city’s entertainment industry seemed to have been touched by the epidemic. Had they wanted to, Parisians could have seen Les Noces de Figaro at the Opéra-Comique, where it alternated with Carmen, or Cyrano de Begerac at the Porte-St. Martin, or Sacha Guitry’s Pasteur at the Vaudeville. The Folies-Bergère featured a lion tamer for its family matinee and then more adult entertainment in the evening. The great music hall stars Mistinguett and Max Dearly appeared at the Casino de Paris, along with 200 Jolies Femmes, and Raimu, the stage actor soon to become a great movie star, performed in Le Cochon qui sommeille at the Théâtre Michel. There was also much, much more.

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On the upper right, on the masthead from February 23rd, 1919, Le Matin announces that week’s death toll of La Grippe à Paris

Parisian entertainment continued as usual for the duration of the epidemic, as the death toll mounted and city leaders kept all venues open while supplying pharmacies with more and more rum for the afflicted. A century later, French officials were slow to react to the coronavirus, as were governments in Italy, Spain, the United States, and elsewhere. They had, however, apparently learned something from the earlier public health crisis. Spitting on streets may still be a difficult problem and still a means of spreading disease. But Mayor Herriot’s example in Lyon, closing theatres, restaurants, and other public spaces, including cinemas, has now become the French model for containing the epidemic, even in Paris.

Read the introduction to Paris in the Dark free online, and now through May 1, save 50% on a print copy using coupon code SPRING50.

New Books in March

Spring is just around the corner—so it’s time to stock up on books for a whole new season of reading. Check out all of these titles arriving in March!

In I Never Left Home, poet and revolutionary Margaret Randall tells the moving, captivating, and astonishing story of her life, from her childhood in New York to joining the Sandanista movement in Nicaragua, from escaping political repression in Mexico to raising a family and teaching college.

Demanding Images is Karen Strassler’s ethnography of Indonesia’s post-authoritarian public sphere, exploring the role of public images as they gave visual form to the ideals, aspirations, and anxieties of democracy.

Focusing on a wide range of media technologies and practices in Beijing, Underglobalization by Joshua Neves examines the cultural politics of the “fake” and how frictions between legality and legitimacy propel dominant models of economic development and political life in contemporary China.

A writing manual as well as a manifesto, Every Day I Write the Book combines novelist and essayist Amitava Kumar’s practical writing advice with interviews with prominent writers, offering guidance and inspiration for academic writers at all levels.

In Negative Exposures, Margaret Hillenbrand explores how artistic appropriations of historical images effectively articulate the openly unsayable and counter the public secrecy that erases traumatic episodes from China’s past.

The contributors to Visualizing Fascism, edited by Julia Adeney Thomas and Geoff Eley, examine the imagery and visual rhetoric of interwar fascism in East Asia, southern Africa, and Europe to explore how fascism was visualized as a global and aesthetic phenomenon.

In his new book-length prose poem, The Voice in the Headphones, musician David Grubbs draws on decades of recording experience, taking readers into the recording studio to tell the story of an unnamed musician who struggles to complete a film soundtrack in a day-long marathon recording session.

Rahul Mukherjee explores how the media coverage of and debates about nuclear power plants and cellular phone antennas in India frames and sustains environmental activism in Radiant Infrastructures.

Salomé Aguilera Skvirsky theorizes the process genre—a filmic genre characterized by its representation of chronologically ordered steps in which some form of labor results in a finished product—in The Process Genre.

In The Queer Games Avant-Garde, Bonnie Ruberg presents twenty interviews with twenty-two queer video developers whose radical, experimental, vibrant, and deeply queer work is driving a momentous shift in the medium of video games.

Ana Y. Ramos-Zayas traces how parenting practices among urban elites in Brazil and Puerto Rico preserve and reproduce white privilege and economic inequality in Parenting Empires.

In Rock | Water | Life, Lesley Green examines the interwoven realities of inequality, racism, colonialism, and environmental destruction in South Africa, calling for environmental research and governance to transition to an ecopolitical approach that could address South Africa’s history of racial oppression and environmental exploitation.

Matt Brim shifts queer studies away from sites of elite education toward poor and working-class students and locations in Poor Queer Studies, showing how the field is driven by those flagship institutions that perpetuate class and race inequity in higher education.

In Paris in the Dark, Eric Smoodin takes readers on a journey through the streets, cinemas, and theaters of Paris to sketch a comprehensive picture of French film culture during the 1930s and 1940s.

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New Books in February

This month, we’re releasing an array of new reads in all of the subjects you love. Take a look at these new books coming this February!

The concluding volume in a poetic triptych, Alexis Pauline Gumbs’s Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise.

In Wild Blue Media, Melody Jue destabilizes terrestrial-based media theory frameworks and reorients the perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived.

In The Ocean in the School, Rick Bonus tells the stories of Pacific Islander students at the University of Washington as they and their allies struggled to transform a university they believed did not value their presence into a space based on meaningfulness, respect, and multiple notions of student success.

In Orozco’s American Epic, Mary K. Coffey examines José Clemente Orozco’s mural cycle Epic of American Civilization, which indicts history as complicit in colonial violence and questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project.

Nandita Sharma traces the development of the categories of migrants and natives from the nineteenth century to the present in Home Rule to theorize how the idea of people’s rights being tied to geographical notions of belonging came to be.

In Unfixed, Jennifer Bajorek traces the relationship between photography and decolonial politics in Francophone west Africa in the years immediately leading up to and following independence from French colonial rule in 1960, showing how photography both reflected and actively contributed to social and political change.

In Are You Entertained?, a collection of essays, interviews, visual art, and artist statements on topics ranging from music and dance to Black Twitter and the NBA’s dress code, the contributors consider what culture and Blackness mean in the twenty-first century’s digital consumer economy. This volume is edited by Simone C. Drake and Dwan K. Henderson.

In Musicophilia in Mumbai, Tejaswini Niranjana traces the place of Hindustani classical music in Mumbai throughout the long twentieth century, showing how the widespread love of music throughout the city created a culture of collective listening and social subjects who embodied new forms of modernity.

Focusing on the work of a Marxist anticolonial literary group active in India between the 1930s and 1950s, Neetu Khanna rethinks the project of decolonization in The Visceral Logics of Decolonization by showing how embodied and affective responses to colonial subjugation provide the catalyst for developing revolutionary consciousness.

Contributors to Queer Korea, edited by Todd A. Henry, offer interdisciplinary analyses of non-normative sexuality and gender nonconformity in Korea, extending individualized notions of queer neoliberalism beyond those set in Western queer theory.

Drawing on Marxist phenomenology, geography, and aesthetics and film from China, Hong Kong, and Taiwan made between the 1990s and the present, Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal postsocialist China in Urban Horror.

The contributors to Affective Trajectories examine the mutual and highly complex entwinements between religion and affect in urban Africa in the early twenty-first century, tracing the myriad ways religious ideas, practices, and materialities interact with affect to configure life in urban African spaces. This collection is edited by Hansjörg Dilger, Astrid Bochow, Marian Burchardt, and Matthew Wilhelm-Solomon.

In Naked Agency, Naminata Diabate explores how the deployment of defiant nakedness by mature women in Africa challenges longstanding assumptions about women’s political agency.

From The Guiding Light to Passions, Elana Levine traces the history of daytime television soap operas as an innovative and highly gendered mass cultural form in Her Stories.

In Seeing by Electricity, Doron Galili traces television’s early history, from the fantastical devices initially imagined fifty years before the first television prototypes to the emergence of broadcast television in the 1930s, showing how television was always discussed and treated in relation to cinema.

Jeremy Packer and Joshua Reeves provide a critical account of the history and future of automation in warfare in Killer Apps by highlighting the threats posed by the latest advances in media technology and artificial intelligence.

Originally published in German in 1978 and appearing here in English for the first time, the second volume of Peter Weiss’s three-volume novel The Aesthetics of Resistance depicts anti-fascist resistance, radical proletarian political movements, and the relationship between art and resistance from the late 1930s to World War II.

Working Together: Louis Draper and the Kamoinge Workshop by Sarah Eckhardt accompanies the exhibition of the photography of Virginia artist Louis Draper and other members of the Kamoinge Workshop that opens at the Virginia Museum of Fine Arts in February 2020. We are distributing it for the museum.

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New Books in November

This month, we’re offering a cornucopia of fresh titles in anthropology, media studies, sociology, history, native and indigenous studies, and more. Take a look at all of these exciting new books available in November!

978-1-4780-0649-7_prWhat does it mean to be a decolonial tourist? We are excited to present our first travel guide book,  Detours, edited by Hokulani K. Aikau and Vernadette Vicuna Gonzalez.  In the book artists, activists, and scholars redirect readers from the fantasy of Hawai‘i as a tropical paradise and tourist destination toward a multilayered and holistic engagement with Hawai‘i’s culture, complex history, and the effects of colonialism. We’ll have lots of copies at the American Studies Association meeting in Honolulu later this month.

Mark Goodale’s ethnographic study of Bolivian politics and society between 2006 and 2015, A Revolution in Fragments, reveals the fragmentary and contested nature of the country’s radical experiments in pluralism, ethnic politics, and socioeconomic planning.colonialism.

In The Politics of Taste Ana María Reyes examines how the polarizing art of Beatriz González disrupted Cold War aesthetic discourses and the politics of class and modernization in 1960s Colombia.

Nicholas D’Avella offers an ethnographic reflection on the value of buildings in post-crisis Buenos Aires in Concrete Dreams, showing how everyday practices transform buildings into politically, economically, and socially consequential objects, and arguing that such local forms of value and practice suggest possibilities for building better futures.

In his engaging and moving book, Honeypot, E. Patrick Johnson combines magical realism, poetry, and performative writing to bear witness to the real-life stories of black southern queer women in ways that reveal the complexity of identity and the challenges these women face. Johnson is on a book tour for Honeypot. Look for a post later this month with all the dates.

In Trans Exploits Jian Neo Chen examines how contemporary trans of color artists are tracking and resisting their displacement and social marginalization through new forms of cultural expression, performance, and activism.

 

In Punctuations Michael J. Shapiro examines how the use of punctuation—conceived not as a series of marks but as a metaphor for the ways in which artistic genres engage with intelligibility—in art opens pathways for thinking through the possibilities for oppositional politics.

In a meditation on loss, inheritance, and survival, The Unspoken as Heritage, renowned historian Harry Harootunian explores the Armenian genocide’s multigenerational afterlives that remain at the heart of the Armenian diaspora by sketching the everyday lives of his parents, who escaped the genocide in the 1910s.

Tyler Denmead critically examines his role as the founder of New Urban Arts—a nonprofit arts program for young people of color in Providence, Rhode Island—and how despite its success, it unintentionally contributed to Providence’s urban renewal efforts, gentrification, and the displacement of people of color in The Creative Underclass.

Kamari Maxine Clarke explores the African Union’s pushback against the International Criminal Court in order to theorize affect’s role in shaping forms of justice in Affective Justice.

In Before the Flood, Jacob Blanc examines the creation of the Itaipu Dam—the largest producer of hydroelectric power in the world—on the Brazil–Paraguay border during the 1970s and 1980s to explore the long-standing conflicts around land, rights, indigeneity, and identity in rural Brazil.

In Screening Race in American Nontheatrical Film, edited by Allyson Nadia Field and Marsha Gordon, the contributors examine the place and role of race in educational films, home movies, industry and government films, anthropological films, church films, and other forms of noncommercial filmmaking throughout the twentieth century.

Deborah A. Thomas uses the 2010 military and police incursion into the Kingston, Jamaica, Tivoli Gardens neighborhood as a point of departure for theorizing the roots of contemporary state violence in Jamaica and other post-plantation societies in Political Life in the Wake of the Plantation.

In Progressive Dystopia Savannah Shange traces the afterlives of slavery as lived in a progressive high school set in post-gentrification San Francisco, showing how despite the school’s sincere antiracism activism, it unintentionally perpetuated antiblackness through various practices.

In Sacred Men Keith L. Camacho examines the U.S. Navy’s war crimes tribunal in Guam between 1944 and 1949 which tried members of Guam’s indigenous Chamorro community and Japanese nationals and its role in shaping contemporary domestic and international laws regarding combatants, jurisdiction, and property.

Maile Arvin analyzes the history of racialization of Polynesians within the context of settler colonialism across Polynesia, especially in Hawai‘i, arguing that a logic of possession through whiteness animates European and Hawaiian settler colonialism in Possessing Polynesians.

978-1-4780-0621-3_prIn his experimental ethnography, Ethnography #9, Alan Klima examines moneylending, gambling, funeral casinos, and the consultations of spirits and mediums to predict winning lottery numbers to illustrate the relationship between contemporary Thai spiritual and financial practices and global capitalism’s abstraction of monetary value.

In Biogenetic Paradoxes of the Nation, Sakari Tamminen traces the ways in which the mandates of 1992’s Convention on Biological Diversity—hailed as the key symbol of a common vision for saving Earth’s biodiversity—contribute less to biodiversity conservation than to individual nations using genetic resources for economic and cultural gain.

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New Books in October

It’s official—fall has arrived! With the start of this new season, we’re releasing dynamic new reads in art and visual culture, anthropology, feminist studies, cultural studies, sociology, and more. Check out all of these exciting books available in October.

Continuing the work she began in The Promise of Happiness and Willful Subjects by taking up a single word and following its historical, intellectual, and political significance, Sara Ahmed explores how use operates as an organizing concept, technology of control, and tool for diversity work in What’s the Use?

In Where Histories Reside Priya Jaikumar examines seven decades of films shot on location in India to show how attending to filmed space reveals alternative timelines and histories of cinema as well as the myriad ways cinema constructs India as a place.

Eva Haifa Giraud contends in What Comes after Entanglement? that recent theory that foregrounds the ways that human existence is entangled with other nonhuman life and the natural world often undermine successful action and calls for new modes of activist organizing and theoretical critique.

The contributors to Reading Sedgwick (edited by Lauren Berlant) reflect on the long and influential career of Eve Kosofsky Sedgwick, whose pioneering work in queer theory has transformed understandings of affect, intimacy, politics, and identity.

Conceptualizing anthropology as a mode of practical and transformative inquiry in A Possible Anthropology, Anand Pandian stages an ethnographic encounter with the field in an effort to grasp its impact on the world and its potential for addressing and offering solutions to the profound crises of the present.

In Symbolic Violence Michael Burawoy brings Pierre Bourdieu into an extended debate with Marxism by outlining the parallels and divergences between Bourdieu’s thought and preeminent Marxist theorists including Gramsci, Fanon, Beauvoir, and Freire.

Achille Mbembe theorizes the genealogy of the contemporary world—one plagued by inequality, militarization, enmity, and a resurgence of racist, fascist, and nationalist forces—and calls for a radical revision of humanism a the means to create a more just society in Necropolitics.

In Fidel between the Lines Laura-Zoë Humphreys tracks late-socialist Cuba’s changing dynamics of social criticism and censorship through Cuban cinema and its cultural politics.

In A Fragile Inheritance, Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram, illuminating  how their political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction.  

Ronak K. Kapadia examines multimedia visual art by artists from societies besieged by the US war on terror in Insurgent Aesthetics, showing how their art offers queer feminist critiques of US global warfare that forge new aesthetic and social alliances with which to sustain critical opposition to the global war machine.

In Eros Ideologies Laura E. Pérez analyzes Latina art to explore a new notion of decolonial thought and love based on the integration of body, mind, and spirit that offers a means to creating a more democratic and just present and future.

Edited by Frances Richard, I Stand in My Place with My Own Day Here features essays by more than fifty renowned international writers considering thirteen monumental works of art commissioned by The New School between 1930 and the present. We are distributing this beautiful art book for The New School.

Between Form and Content is a catalog that accompanied the first exhibition to focus on Jacob Lawrence’s experience at Black Mountain College in North Carolina in 1946, where his interaction with Josef Albers had a lasting impact on his future career. We are distributing this catalog for Black Mountain College Museum + Art Center.

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Women’s Film Authorship in Neoliberal Times: Revisiting Feminism and German Cinema

The most recent issue of Camera Obscura, “Women’s Film Authorship in Neoliberal Times: Revisiting Feminism and German Cinema,” edited by Hester Baer and Angelica Fenner, is now available.

cob_33_3_99_coverSince German unification, many of the gains achieved during the feminist film movement of the 1970s have been undone, not least as a result of the dismantling of redistributive funding policies in the face of the global free market. Yet the rise of the Berlin School, the development of production collectives fostering women’s filmmaking, and the Pro Quote Film movement promoting gender parity in the film industry through quotas make the time ripe for a reconsideration of the relations between aesthetic form and the material conditions of women’s filmmaking in Germany.

This special issue reframes the legacies of the feminist film movement of the 1970s and 1980s in the context of the resurgence of film feminism in the 2010s. Arguing that German cinema constitutes a key site for theorizing women’s film authorship and feminist film production today, contributors to the issue investigate the relationship between aesthetic form and the material conditions of women’s filmmaking in light of neoliberalism and post-feminism.

Browse the table of contents and read the introduction, made freely available.

You may also find these titles on international women’s cinema interesting.

Womens_Cinema_World_Cinema_coverWomen′s Cinema, World Cinema: Projecting Contemporary Feminisms, edited by Patricia White, explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world:  Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies.

Sisters in the Life: A History of Out African American Lesbian Media-Making, edited by Yvonne Welbon and Alexandra Juhasz, tells a full story of African American lesbian media-making spanning three decades. In essays on filmmakers including Angela Robinson, Tina Mabry and Dee Rees; on the making of Cheryl Dunye’s The Watermelon Woman(1996); and in interviews with Coquie Hughes, Pamela Jennings, and others, the contributors center the voices of black lesbian media makers while underscoring their artistic influence and reach as well as the communities that support them.

In The Battle of the Sexes in French Cinema, 1930–1956, by Noël Burch and Geneviève Sellier, adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940–44). The authors contend that the films produced from the 1930s until 1956—when the state began to subsidize the movie industry, facilitating the emergence of an “auteur cinema”—are important, both as historical texts and as sources of entertainment. Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity.

Reimagining Ourselves: Race, Gender, and Disability in Black Panther and A Wrinkle in Time

Sami Final-9Today’s guest post is by Sami Schalk, author of the new book Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction.

It is a good time to be a black nerd—a blerd, if you will. The past few years have seen increased appearances of not only black characters, but entire black speculative worlds, worlds where we are not merely sidekicks, but heroes and heroines. From Netflix’s Luke Cage and Jordan Peele’s Oscar-winning Get Out to Ryan Coogler’s record-shattering hit film Black Panther and Ava Duvernay’s just-released A Wrinkle in Time, we are in an incredible moment for black speculative film, television, and literature. I use “speculative” here, like I do in my new book, Bodyminds Reimagined, as an umbrella term for non-realist representations, including science fiction, fantasy, horror, and magical realism. For a long time, African American literature and film were heavily burdened by the need and desire for positive, realist representations of black people to combat a legacy of influential racist stereotypes. As I discuss in the introduction to Bodyminds Reimagined, available for free here, positive, authentic representations for black and other oppressed groups are often assumed to only occur through realism, like life-writing and historical dramas, but increasingly more writers and filmmakers are experimenting with how speculative fiction and film can also provide empowering representations of marginalized people.

978-0-8223-7088-8Black Panther represents an alternate version of our world in which the people of Wakanda, a secret African nation that went into hiding to protect its supply of vibranium from the colonizing world, have developed their own advanced technology and culture. In this cinematic universe, based on the comic book series of the same title, the Wakandan king, T’Challa, serves as the Black Panther, protector of Wakanda, and is given extraordinary physical abilities through a mystical heart-shaped herb. Throughout the film, T’Challa relies on his genius younger sister Shuri, princess of Wakanda, who develops and improves vibranium technology, and an army of strong black women, the Dora Milaje, who are led by General Okoye. In this speculative world, black people are leaders and inventors as well as farmers, warriors, and spies. Black Panther reimagines the meaning of blackness and womanhood as well as the roles and expectations for black men and women. Importantly, the film provides this reimagining in conjunction with political messages about the history of colonization while also remaining firmly in the superhero genre—full of dramatic fights and chase scenes required of any superhero movie. While black, disabled, and feminist authors of speculative fiction, like Octavia E. Butler, Samuel Delany, Nalo Hopkinson, and Nnedi Okorafor have been creating politicized non-realist texts which center marginalized characters for years, Hollywood is now beginning to catch up, learning to combine diversity and politics with superheroes, science fiction, and other non-realist genres.

The move to reimagine race and gender identity through speculative fiction and film continues in the new film A Wrinkle in Time, originally a 1962 award-winning speculative fiction novel by Madeleine L’Engle. The book was initially rejected dozens of times, due in part, the author speculated, to its divergence from genre norms at the time, such as featuring a female protagonist. In its current adaptation, A Wrinkle in Time casts a black girl in the lead role of Meg Murray and other characters are also played by women of color. In the film, Meg, along with her friend and younger brother, bend time to travel the universe in order to find and rescue Meg’s scientist father who has been missing for four years. While not as explicitly political at Black Panther and created for a younger audience, A Wrinkle in Time nonetheless reimagines race and gender norms by creating a smart black girl character who must learn to love herself as she is, using her knowledge of physics and love for her family to become a hero.

What is missing from the race and gender diversity of these recent black speculative worlds, however, is disability. In Black Panther, while we see some bodily and age diversity among the tribal leaders, we do not see disabled characters except for the villain Ulysses Klaue who has a prosthetic hand—a representation that aligns with the trope of disability as a symbol or cause of evil. In A Wrinkle in Time, although there are messages about self-love (especially for black people, women and girls) embedded throughout, from Meg’s self-consciousness about her naturally curly hair to Oprah Winfrey’s character Mrs. Which rhetorically asking “Is there such thing as the wrong size?”, disability makes no appearance in the film. Further, in Black Panther CIA operative Everett Ross is shot in the spine but is completely healed by Wakandan technology. This choice suggests that disability has been eliminated in Wakanda. In Chapter 3 of Bodyminds Reimagined, I discuss the role of disability and technology in representations of the future, particularly in Octavia E. Butler’s Parable series. There I explain that western visions of the future are typically disability-free futures, like that suggested in Black Panther. Despite the fact that advances in human technology are often used for violence and war (especially against people of color) and despite the fact that technology increasingly allows people to live with more severe and varied disabilities than in the past, we continue to hold onto the ideal of a technologically-created able-bodied, able-minded future in which disabled people cease to exist. The belief in and hope for such a future or fantasy world is based on ableist notions that disabled lives are inherently worse than non-disabled lives and that disabled people do not contribute to the world in important ways.

The lack of positive disability representation (that is, disabled characters who aren’t villains, especially ones played by actually disabled actors) in the increasingly diverse world of speculative film demonstrates that there is still more work to be done. In Bodyminds Reimagined, I analyze how black women writers reimagine the possibilities and limits of bodyminds by creating complex, interesting, and powerful representations of disabled characters. With the release and success of films like Get Out, Black Panther, and A Wrinkle in Time, it seems that speculative film is beginning to catch up the speculative fiction in terms of race and gender, but not as much in terms of disability. By highlighting the role of disability alongside race and gender in black women’s speculative fiction, I hope that Bodyminds Reimagined contributes to this powerful moment in black speculative representations so that perhaps in the Black Panther sequel and other future films, we might see the kind of engagement with and embrace of disability identity that we have begun to see around blackness and womanhood as well.

Pick up Sami Schalk’s Bodyminds Reimagined for 30% off using coupon code E18BODYM at dukeupress.edu.

Top Latin American Studies Titles Adopted for Course Use

cuba readerOur Latin American Studies authors are well known for their work in anthropology, art, cultural studies, Caribbean studies, Chicanx and Latinx studies, history, literature, film and media, and politics.

Our Latin American studies e-book collection includes over 500 titles in these subject areas. Many of our journals also cover Latin America. If you’re interested in gaining access to these resources, have your librarian contact our Library Relations team to get more information.

Here are the top 8 Latin American studies titles adopted for course use:

View the title list for the Latin American Studies collection, which features more than 500 e-books.