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In: Journal of Contemporary Iraq & the Arab World, Band 18, Heft 1, S. 23-45
ISSN: 2515-8546
This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films' aesthetics and themes, the article illustrates continuities in the United States's attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region.
In: Contemporary East Asian Visual Cultures, Societies and Politics
Chapter One: Chinese visual culture: Interpretations of Chinese Art and Design visual metaphors that shape social, political and historical narratives -- Chapter Two: Modernity and Contemporaneity: Methodological and Theoretical Framework: Plausible Transcultural Readings -- Chapter Three: Multimodal visual forms -- Chapter Four: Visual Culture in a Diasporic World Online Visual Forms, New Symbolism and Analysis -- Chapter 5: Digital visuality is the mirror of cultural milieu.
Introduction: life after the avant-garde -- 1 Proletarian realism, proletarian modernism: life in the Thirties -- 2 The managerial avant-garde: Hannah Arendt, John Cage and Jackson Pollock -- 3 The labour of mid-century leisure: grace, time and pastoral in Frank O'Hara's work poems -- 4 Extraordinary measures: work, race and violence from Umbra to Gary, Indiana -- 5 Performing women's work: Linda Montano, Bernadette Mayer and Karen Finley -- 6 Life and death: illness, labour and writing from Audre Lorde to Anne Boyer -- 7 Labour value and the web of life: the new century's poetics of scale -- 8 Life at zero hours: language, networks and precarity since 2008. .
1: Introduction to Death, Dying and the Dead in Media and Culture -- 2: "To Show the Problem Inside and Out": Representations of Mental Illness and Suicide in Eric Steel's The Bridge -- 3: Twenty-First Century Digital Snuff: The Circulation of Images and Videos of Real Death Online -- 4: Streaming death: terrorist violence and the digital afterlife of difficult death -- 5: 'Death. Carnage. Chaos': mortality and mountaineering on-screen, and on the roof of the world -- 6: Bodies on the Battlefield: Death and Combat in Band of Brothers -- 7: Melissa Merchant and Simon Order - Representing Fatal Violence in AMC's The Walking Dead: The Role of Legitimation, Graphicness and Explicitness -- 8: Are Normative Death Narratives Celebrated, Reinforced, or Disrupted in Popular Media? A Critical Discourse Analysis of Coco and Soul -- 9: Hashtag feminism: challenging rape and femicide in South Africa -- 10: A Weaponized Landscape: Hart Island's Geography of Denial -- 11: Shakespeare: Difficult Dead Celebrity Child -- 12: There is nothing like a dead man to demand existence' (Antonin Artaud) -- 13: Difficult Deaths and Awkward Agendas: How Mainstream News Media Negotiate Coverage of Politically Dissonant Victims -- 14: Dissected, torn, and exposed: the death and remains of the Jack the Ripper victims in the Illustrated Police News -- 15: Photographing Death to Save Photojournalism Mafia Homicides in Letizia Battaglia's "Archive of Blood" -- 16: Economies of Mortalities: Ageism and Disposability During the Covid-19 Pandemic -- 17: Reflecting grief during a pandemic: online UK newspapers' reportage and researchers' experiences -- 18: Conclusion to Difficult Death, Dying and the Dead in Media and Culture. .
In: Palgrave Macmillan Memory Studies
1. Introduction: Cinemas of Memory -- 2. Frameworks for Remembering: Dictatorships and Transition in the Southern Cone -- 3. The Rise of the Witness: The Informative Mode of Remembering -- 4. How We Remember: The Reflective Mode of Remembering -- 5. The Screened Self: The Diaristic Mode of Remembering -- 6. Imagined Pasts, Possible Futures: The Playful Mode of Remembering -- 7. Conclusion.
In: Routledge research in postcolonial literatures
"This book might be considered as one of the first of its kind in the subcontinent to concentrate so significantly on trans-nation, transnationalism and its dialogue with various nationalisms in South Asia. Taking the absence of discussion on transnationalism in South Asia as a crucial juncture as well as a point of intervention, this book intends to push the boundaries further by organizing a dialogue between the nation-state and many nationalisms and the emergent method of transnationalism. It opens itself up for many cross-border movements, formulating the trans-South Asian discursive exchange necessitated by contemporary theoretical upheavals. It looks at such exchanges through the prism(s) of literature and cinema and traces many modes of engagement that exist between some of the globally dominant literary and cinematic forms, trying to locate these engagements and negotiations across three geopolitical formations and locations of culture, namely region, nation and trans-nation"--
World Affairs Online
Maverick Movies tells the improbable story of New Line Cinema, a company that cut a remarkable path through the American film industry and movie culture. Founded in 1967 as an art film distributor, New Line made a small fortune running John Waters's Pink Flamingos at midnight screenings in the 1970s and found reliable returns with the Nightmare on Elm Street franchise in the 1980s. By 2001, the company competed with the major Hollywood studios and reached global box office success with the Lord of the Rings franchise. Blurring boundaries between high and low culture, between independent film and Hollywood, and between the margins and the mainstream, New Line Cinema epitomizes Hollywood's shift in focus from the mass audience fostered by the classic studios to the multitude of niche audiences sought today.
"At long last, a top film scholar takes a deep dive into New Line Cinema's remarkable and most unlikely history. Mining a wealth of primary sources and trade press accounts, and with access to New Line's renegade founder Bob Shaye himself, Daniel Herbert deftly recounts the company's rags-to-riches saga and firmly situates New Line as one of the most important Hollywood studios in the past half century." — THOMAS SCHATZ, author of The Genius of the System: Hollywood Filmmaking in the Studio Era
"Exhibiting the same archival dexterity he brought to Videoland, Herbert reconsiders how New Line's eclecticism both predicted and reflected broader changes in US film culture of the late twentieth century. This book will revitalize the field of distribution studies." — CAETLIN BENSON-ALLOTT, author of The Stuff of Spectatorship: Material Cultures of Film and Television
"Focusing on New Line Cinema, an indie outfit rooted in 1960s college-campus film culture that in the 1990s briefly became the tail that wagged the dog at the WB, Herbert crafts a compelling road map of the volatile movie industry of postclassical Hollywood." — JON LEWIS, author of Road Trip to Nowhere: Hollywood Encounters the Counterculture
In: Oxford scholarship online
'Life 24x a Second' highlights the life-sustaining and life-affirming power of cinema. Author Elsie Walker pays particular attention to pedagogical practice and students' reflections on what the study of cinema has given to their lives. This book provides multiple perspectives on cinema that matters for the deepest personal and social reasons-from films that represent psychological healing in the face of individual losses to films that represent humanitarian hope in the face of global crises. Ultimately, Walker shows how cinema that moves us emotionally can move us toward a better world.
In: Palgrave Gothic
Acknowledgements -- 1. Introduction Simon Bacon and Katarzyna Bronk-Bacon -- 2. 1408 and the Structure of Haunting Jeffrey Andrew Weinstock -- 3. Toxic Nostalgia in Contemporary Gothic Horror Brandon R. Grafius -- 4. Toxic Nostalgia in the Wake of the Postmodern Turn Matthias Stephan -- 5. Deepfake Sockpuppets: The Toxic "Realities" of a Weaponised Internet — Katy Wareham-Morris -- 6. The Nostalgia of Setting, Sex and Sound in the Wicker Men Films Lauren Rosewarne -- 7. The American Dream and American Nightmare: The Toxic Pursuit of Nostalgia and Happiness Presented in Poltergeist (1982) and Poltergeist (2015) Rob Mclaughlin -- 8. "You're Too Focused on Where You've Been":Uncanny Nostalgia in Mary Poppins Returns Daniel Kasper -- 9. Pulling Our Strings: The Gothic Nostalgia of Luca Guadagnino's Suspiria J. Simpson -- 10. "I Just Wanted to Preserve It Just as It is": Gothic Nostalgia in The Watcher Abel Fenwick -- 11. Prevention is Better Than Cure: Anachronistic Therapists and Toxic Wellness Catherine Pugh -- 12.Patriarchy Then and Now — with a Twist: The Postmodern Horror of Alex Garland's Men M. Keith Booker and Isra Daraiseh -- 13. "But now, yeah, I'm thinking I'm back": The All-consuming Gothic Nostalgia in the John Wick Franchise Simon Bacon -- 14. Gothic Nostalgia in Louise Welsh's The Cutting Room and The Second Cut Martyn Colebrook -- 15. Toxic Ableism and Gothic Nostalgia in Fanfiction about Mermaids Martine Mussies -- 16. Of Greed and the Undead Past: Rahi Anil Barve's Tumbbad as an Exercise in Toxic Nostalgia Aparajita Hazra -- 17. Soviet Nostalgia in the Vampire Trilogy A Tale of the Soviet Vampire by Aleksandr Slepakov (2014-18) Patrycja Pichnicka-Trivedi -- 18. "Oh no. Not again!": Toxic Nostalgia and Antisemetic Recursive Memory in Ghost Stories -- Vicky Brewster -- 19. Extremist Nostalgia: Mike Ma's Novellas as 21st Century Far-Right Gothic Helen Young -- Notes on Contributors.
In: Palgrave Studies in (Re)Presenting Gender
1. Introduction -- Section 1: Aesthetic Labour -- 2. "The person inside has experienced the most change…": The labour of fitness, positivity and narratives of suffering -- 3. Selling Sunset… and my postfeminist sexual capital -- 4. 'Millennial dumplings' at work: Aesthetic and emotional labour in US sitcoms Shrill (2019- 21) and Mythic Quest (2020-) -- 5 Making Nüzhubo: Commodified Intimacy and Gendered Labour in Chinese Live/Life Streaming -- Section 2: Politics and Policies -- 6. Representation of women peacebuilders in the Nigerian TV news media -- 7. Recuperating Women's Care Work in 2010s Television Fictions of Nurses and Nursing in the Neoliberal NHS -- 8. "I took a dump on the glass ceiling": Veep, (the Absence of) Competence and Populist Political Culture -- Section 3: Relationships and Power -- 9. "I am the highest paid showrunner in Television!" Shonda Rhimes' work and influence in the media industry -- 10 Control and the fallacy of agency: negotiating neoliberal workplaces and toxic work environments -- 11. "You Deserve to Be Satisfied": Women in Tech and the Affective Reconfiguration of the Workplace through Song in Zoey's Extraordinary Playlist -- 12. Work it, robot! Exploring I'm Your Man [Ich bin dein Mensch] (2021) and The Trouble With Being Born (2020) -- Section 4: Sex and Sexuality -- 13. Queering Mothering, Labour, and Illness in Tully -- 14. A quest for self? Work as an identity in the Japanese movie 37 seconds -- 15. Representing Sex Workers: The Experiences of Shae, Ros and Daisy in Game of Thrones (2011-2019).