＜p＞In ＜em＞Out of Time＜/em＞, Todd McGowan takes as his starting point the emergence of a temporal aesthetic in cinema that arose in response to the digital era. Linking developments in cinema to current debates within philosophy, McGowan claims that films that change the viewer’s relation to time constitute a new cinematic mode: atemporal cinema.＜/p＞ ＜p＞In atemporal cinema, formal distortions of time introduce spectators to an alternative way of experiencing existence in timeーor, more exactly, a way of experiencing existence out of time. McGowan draws on contemporary psychoanalysis, particularly Jacques Lacan, to argue that atemporal cinema unfolds according to the logic of the psychoanalytic notion of the drive rather than that of desire, which has conventionally been the guiding concept of psychoanalytic film studies.＜/p＞ ＜p＞Despite their thematic diversity, these films distort chronological time with a shared motivation: to reveal the logic of repetition. Like psychoanalysis, McGowan contends, the atemporal mode locates enjoyment in the embrace of repetition rather than in the search for the new and different.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞From the signing of the Treaty of Waitangi between Indigenous and settler cultures to the emergence of the first-ever state-funded M?ori television network, New Zealand has been a hotbed of Indigenous concerns. Given its history of colonization, coping with biculturalism is central to New Zealand life. Much of this “bicultural drama” plays out in the media and is molded by an anxiety surrounding the ongoing struggle over citizenship rights that is seated within the politics of recognition. ＜em＞The Fourth Eye＜/em＞ brings together Indigenous and non-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and M?ori culture.＜/p＞ ＜p＞Examining the Indigenous mediascape, ＜em＞The Fourth Eye＜/em＞ shows how M?ori filmmakers, actors, and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people. From nineteenth-century M?ori-language newspapers to contemporary M?ori film and television, the contributors explore a variety of media forms including magazine cover stories, print advertisements, commercial images, and current M?ori-language newspapers to illustrate the construction, expression, and production of indigeneity through media.＜/p＞ ＜p＞Focusing on New Zealand as a case study, the authors address the broader question: what is Indigenous media? While engaging with distinct themes such as the misrepresentation of M?ori people in the media, access of Indigenous communities to media technologies, and the use of media for activism, the essays in this much-needed new collection articulate an Indigenous media landscape that converses with issues that reach far beyond New Zealand.＜/p＞ ＜p＞Contributors: Sue Abel, U of Auckland; Joost de Bruin, Victoria U of Wellington; Suzanne Duncan, U of Otago; Kevin Fisher, U of Otago; Allen Meek, Massey U; Lachy Paterson, U of Otago; Chris Prentice, U of Otago; Jay Scherer, U of Alberta; Jo Smith, Victoria U of Wellington; April Strickland; Stephen Turner, U of Auckland.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How the creative use of pop music in filmーthink ＜em＞Saturday Night Fever＜/em＞ or ＜em＞Apocalypse Now＜/em＞ーhas shaped and shifted music history since the 1960s＜/strong＞＜/p＞ ＜p＞Quick: What movie do you think of when you hear “The Sounds of Silence”? Better yet, what song comes to mind when you think of ＜em＞The Graduate＜/em＞? The link between film and song endures as more than a memory, Nate Patrin suggests with this wide-ranging and energetic book. It is, in fact, a sort of cultural symbiosis that has mutually influenced movies and pop music, a phenomenon Patrin tracks through the past fifty years, revealing the power of music in movies to move the needle in popular culture.＜/p＞ ＜p＞Rock ’n’ roll, reggae, R&B, jazz, techno, and hip-hop: each had its momentーor manyーas music deployed in movies emerged as a form of interpretive commentary, making way for the legitimization of pop and rock music as art forms worthy of serious consideration. These commentaries run the gamut from comedic irony to cheap-thrills excitement to deeply felt drama, all of which Patrin examines in pairings such as ＜em＞American Graffiti＜/em＞ and “Do You Want to Dance?”; ＜em＞Saturday Night Fever＜/em＞ and “Disco Inferno”; ＜em＞Apocalypse Now＜/em＞ and “The End”; ＜em＞Wayne’s World＜/em＞ and “Bohemian Rhapsody”; and ＜em＞Jackie Brown＜/em＞ and “Didn't I Blow Your Mind This Time?”.＜/p＞ ＜p＞What gives power to these individual moments, and how have they shaped and shifted music history, recasting source material or even stirring wider interest in previously niche pop genres? As Patrin surveys the sceneーmusical and cinematicーacross the decades, expanding into the deeper origins, wider connections, and echoed histories that come into play, ＜em＞The Needle and the Lens＜/em＞ offers a new way of seeing, and hearing, these iconic soundtrack moments.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Zombies first shuffled across movie screens in 1932 in the low-budget Hollywood film ＜em＞White Zombie＜/em＞ and were reimagined as undead flesh-eaters in George A. Romero’s ＜em＞The Night of the Living Dead＜/em＞ almost four decades later. Today, zombies are omnipresent in global popular culture, from video games and top-rated cable shows in the United States to comic books and other visual art forms to low-budget films from Cuba and the Philippines. The zombie’s ability to embody a variety of cultural anxietiesーecological disaster, social and economic collapse, political extremismーhas ensured its continued relevance and legibility, and has precipitated an unprecedented deluge of international scholarship.＜/p＞ ＜p＞Zombie studies manifested across academic disciplines in the humanities but also beyond, spreading into sociology, economics, computer science, mathematics, and even epidemiology. ＜em＞Zombie Theory＜/em＞ collects the best interdisciplinary zombie scholarship from around the world. Essays portray the zombie not as a singular cultural figure or myth but show how the undead represent larger issues: the belief in an afterlife, fears of contagion and technology, the effect of capitalism and commodification, racial exclusion and oppression, dehumanization. As presented here, zombies are not simple metaphors; rather, they emerge as a critical mode for theoretical work. With its diverse disciplinary and methodological approaches, ＜em＞Zombie Theory＜/em＞ thinks through what the walking undead reveal about our relationships to the world and to each other.＜/p＞ ＜p＞Contributors: Fred Botting, Kingston U; Samuel Byrnand, U of Canberra; Gerry Canavan, Marquette U; Jeffrey Jerome Cohen, George Washington U; Jean Comaroff, Harvard U; John Comaroff, Harvard U; Edward P. Comentale, Indiana U; Anna Mae Duane, U of Connecticut; Karen Embry, Portland Community College; Barry Keith Grant, Brock U; Edward Green, Roosevelt U; Lars Bang Larsen; Travis Linnemann, Eastern Kentucky U; Elizabeth McAlister, Wesleyan U; Shaka McGlotten, Purchase College-SUNY; David McNally, York U; Tayla Nyong’o, Yale U; Simon Orpana, U of Alberta; Steven Shaviro, Wayne State U; Ola Sigurdson, U of Gothenburg; Jon Stratton, U of South Australia; Eugene Thacker, The New School; Sherryl Vint, U of California Riverside; Priscilla Wald, Duke U; Tyler Wall, Eastern Kentucky U; Jen Webb, U of Canberra; Jeffrey Andrew Weinstock, Central Michigan U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Rap’s critique of police brutality in the 1980s. The Hip Hop Political Convention. The rise (and fall) of Kwame Kilpatrick, the “hip-hop mayor” of Detroit. Barack Obama echoing the body language of Jay-Z on the campaign trail.＜/p＞ ＜p＞A growing number of black activists and artists claim that rap and hip-hop are the basis of an influential new urban social movement. Simultaneously, black citizens evince concern with the effect that rap and hip-hop culture exerts on African American communities. According to a recent Pew survey conducted on the opinions of Black Americans, 71 percent of blacks think that rap is a bad influence. To what extent are African American hopes and fears about hip-hop’s potential political power justified? In ＜em＞Stare in the Darkness＜/em＞, Lester K. Spence answers this question using a blend of neoliberal analysis, survey data, experiments, and case studies.＜/p＞ ＜p＞Spence finds that rap does in fact influence black political attitudes. However, rap also reproduces rather than critiques neoliberal ideology. Furthermore, black activists seeking to create an innovative model of hip-hop politics are hamstrung by their reliance on outmoded forms of organizing. By considering the possibilities inherent in the most prolific and prominent activities of hip-hop politics, Stare in the Darkness reveals, in a clear and practical manner, the political consequences of rap culture for black publics.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A comprehensive look into how Macau’s recent decades of gambling-related growth produced one of the wealthiest territories on the planet＜/strong＞＜/p＞ ＜p＞＜em＞Betting on Macau＜/em＞ delves into the radical transformation of what was formerly the last remaining European territory in Asia, returned to the People’s Republic of China in 1999 after nearly half a millennium of Portuguese rule. Examining the unprecedented scale of its development and its key role in China’s economic revolution, Tim Simpson follows Macau’s emergence from historical obscurity to become the most profitable casino gaming locale in the world.＜/p＞ ＜p＞Identified as a UNESCO World Heritage Site and renowned for its unique blend of Chinese and Portuguese colonial-era architecture, contemporary Macau has metamorphosed into a surreal, hypermodern urban landscape augmented by massive casino megaresorts, including two of the world’s largest buildings. Simpson situates Macau’s origins as a strategic trading port and its ensuing history alongside the emergence of the global capitalist system, charting the massive influx of foreign investment, construction, and tourism in the past two decades that helped generate the territory’s enormous wealth.＜/p＞ ＜p＞Presented through a cross section of postcolonial studies and social theory with extensive insight into the global gambling industry, ＜em＞Betting on Macau＜/em＞ uncovers the various roots of the territory’s lucrative casino capitalism. In turn, its trenchant analysis provides a distinctive view into China’s broader project of urbanization, its post-Mao economic reforms, and the continued rise of its consumer culture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞When the past is painful, as riddled with violence and injustice as it is in postapartheid South Africa, remembrance presents a problem at once practical and ethical: how much of the past to preserve and recollect and how much to erase and forget if the new nation is to ever unify and move forward? The new South Africa’s confrontation of this dilemma is Martin J. Murray’s subject in ＜em＞Commemorating and Forgetting＜/em＞. More broadly, this book explores how collective memory worksーhow framing events, persons, and places worthy of recognition and honor entails a selective appropriation of the past, not a mastery of history.＜/p＞ ＜p＞How is the historical past made to appear in the present? In addressing these questions, Murray reveals how collective memory is stored and disseminated in architecture, statuary, monuments and memorials, literature, and artー“landscapes of remembrance” that selectively recall and even fabricate history in the service of nation-building. He examines such vehicles of memory in postapartheid South Africa and parses the stories they tellーstories by turn sanitized, distorted, embellished, and compressed. In this analysis, ＜em＞Commemorating and Forgetting＜/em＞ marks a critical move toward recognizing how the legacies and impositions of white minority rule, far from being truly past, remain embedded in, intertwined with, and imprinted on the new nation’s here and now.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How the Chinese pop of the 1960s participated in a global musical revolution＜/strong＞＜/p＞ ＜p＞What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In ＜em＞Circuit Listening＜/em＞, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe.＜/p＞ ＜p＞Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, ＜em＞Circuit Listening＜/em＞ reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the ＜em＞Little Red Book＜/em＞ parallel the Beatles’ “Revolution,” uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever.＜/p＞ ＜p＞Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context. Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects.＜/p＞ ＜p＞In ＜em＞The Ethics of Earth Art,＜/em＞ Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works’ relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their workーfilm footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation growsーearth artists articulate the dilemma of representation that nature presents.＜/p＞ ＜p＞Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Analyzing how 1980s visual culture provided a vital space for women artists to theorize and visualize their own bodies and sexualities＜/strong＞＜/p＞ ＜p＞In 1982, the protests of antiporn feminists sparked the censorship of the ＜em＞Diary of a Conference on Sexuality＜/em＞, a radical and sexually evocative image-text volume whose silencing became a symbol for the irresolvable feminist sex wars. ＜em＞In Visible Archives＜/em＞ documents the community networks that produced this resonant artifact and others, analyzing how visual culture provided a vital space for women artists to theorize and visualize their own bodies and sexualities.＜/p＞ ＜p＞Margaret Galvan explores a number of feminist and cultural touchstonesーthe feminist sex wars, the HIV/AIDS crisis, the women in print movement, and countercultural grassroots periodical networksーand examines how visual culture interacts with these pivotal moments. She goes deep into the records to bring together a decade’s worth of research in grassroots and university archives that include comics, collages, photographs, drawings, and other image-text media produced by women, including Hannah Alderfer, Beth Jaker, Marybeth Nelson, Roberta Gregory, Lee Marrs, Alison Bechdel, Gloria Anzald?a, and Nan Goldin.＜/p＞ ＜p＞The art highlighted in ＜em＞In Visible Archives＜/em＞ demonstrates how women represented their bodies and sexualities on their own terms and created visibility for new, diverse identities, thus serving as blueprints for future activism and advocacyーwork that is urgent now more than ever as LGBTQ+ and women’s rights face challenges and restrictions across the nation.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In ＜em＞The Long Take＜/em＞, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. Grounding his inquiry in the long takes of international filmmakers such as B?la Tarr, Tsai Ming-liang, Abbas Kiarostami, Apichatpong Weerasethakul, and Michael Haneke, Koepnick reveals how their films evoke wondrous experiences of surprise, disruption, enchantment, and reorientation. He proceeds to show how the long take has come to thrive in diverse artistic practices across different media platforms: from the work of photographer Hiroshi Sugimoto to the screen-based installations of Sophie Calle and Tacita Dean, from experimental work by Francis Al?s and Janet Cardiff to durational images in contemporary video games.＜/p＞ ＜p＞Deeply informed by film and media theory, yet written in a fluid and often poetic style, ＜em＞The Long Take＜/em＞ goes far beyond recent writing about slow cinema. In Koepnick’s account, the long take serves as a critical hallmark of international art cinema in the twenty-first century. It invites viewers to probe the aesthetics of moving images and to recalibrate their sense of time. Long takes unlock windows toward the new and unexpected amid the ever-mounting pressures of 24/7 self-management.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞The post?Civil Rights era was marked by an explosion of black political thought and aesthetics. Reflecting a shifting horizon of expectations around race relations, the unconventional sounds of free jazz coupled with experimental literary creation nuanced the push toward racial equality and enriched the possibilities for aesthetic innovation within the Black Arts Movement. In ＜em＞Imagine the Sound＜/em＞, Carter Mathes demonstrates how African American writers used sound to further artistic resistance within a rapidly transforming political and racial landscape.＜/p＞ ＜p＞While many have noted the oral and musical qualities of African American poetry from the post?Civil Rights period, Mathes points out how the political implications of dissonance, vibration, and resonance produced in essays, short stories, and novels animated the ongoing struggle for equality. Situating literary works by Henry Dumas, Larry Neal, and Toni Cade Bambara in relation to the expansive ideas of sound proposed by free jazz musicians such as Marion Brown and Sun Ra, not only does this book illustrate how the presence of sound can be heard and read as political, but it recuperates critically neglected, yet important, writers and musicians. Ultimately, Mathes details how attempts to capture and render sound through the medium of writing enable writers to envision alternate realities and resistance outside of the linear frameworks offered by the Civil Rights and Black Power movements.＜/p＞ ＜p＞In precise and elegant prose, Mathes shows how in conceptualizing sound, African American writers opened up the political imaginations of their readers. By exploring this intellectual convergence of literary artistry, experimental music, and sound theory, Imagine the Sound reveals how taking up radically new forms of expression allows us to speak to the complexities of race and political resistance.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Michel Foucault had been concerned about painting and the meaning of the image from his earliest publications, yet this aspect of his thought is largely neglected within the disciplines of art history and aesthetic theory. In ＜em＞Foucault on Painting＜/em＞, Catherine M. Soussloff argues that Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age.＜/p＞ ＜p＞Foucault’s writing on painting covers four discrete periods in European art history (seventeenth-century southern Baroque, mid-nineteenth century French painting, Surrealism, and figurative painting in the 1960s and ‘70s) as well as five individual artists: Vel?zquez, Manet, Magritte, Paul Reyberolle, and G?rard Fromanger. As Soussloff reveals in this book, Foucault followed a French intellectual tradition dating back to the seventeenth century, which understands painting as a separate area of knowledge. Painting, a practice long considered silent in its operations and effects, afforded Foucault an ideal discipline to think about history and philosophy simultaneously. Using a comparative approach grounded in art history and aesthetics, Soussloff explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Tracing the evolution of the Italian avant-garde’s pioneering experiments with art and technology and their subversion of freedom and control＜/strong＞＜/p＞ ＜p＞In postwar Italy, a group of visionary artists used emergent computer technologies as both tools of artistic production and a means to reconceptualize the dynamic interrelation between individual freedom and collectivity. Working contrary to assumptions that the rigid, structural nature of programming limits subjectivity, this book traces the multifaceted practices of these groundbreaking artists and their conviction that technology could provide the conditions for a liberated social life.＜/p＞ ＜p＞Situating their developments within the context of the Cold War and the ensuing crisis among the Italian left, ＜em＞Arte Programmata＜/em＞ describes how Italy’s distinctive political climate fueled the group’s engagement with computers, cybernetics, and information theory. Creating a broad range of immersive environments, kinetic sculptures, domestic home goods, and other multimedia art and design works, artists such as Bruno Munari, Enzo Mari, and others looked to the conceptual frameworks provided by this new technology to envision a way out of the ideological impasses of the age.＜/p＞ ＜p＞Showcasing the ingenuity of Italy’s earliest computer-based art, this study highlights its distinguishing characteristics while also exploring concurrent developments across the globe. Centered on the relationships between art, technology, and politics, ＜em＞Arte Programmata＜/em＞ considers an important antecedent to the digital age.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How Black women’s reproduction became integral to white supremacy, capitalism, and heteropatriarchyーand remains key to their dismantling＜/strong＞＜/p＞ ＜p＞In the United States, slavery relied on the reproduction and other labors of unfree Black women. Nearly four centuries later, Black reproductivity remains a vital technology for the creation, negotiation, and transformation of sexualized and gendered racial categories. Yet even as Black reproduction has been deployed to resolve the conflicting demands of white supremacy, capitalism, and heteropatriarchy, Sara Clarke Kaplan argues that it also holds the potential to destabilize the oppressive systems it is supposed to maintain.＜/p＞ ＜p＞＜em＞The Black Reproductive＜/em＞ convenes Black literary and cultural studies with feminist and queer theory to read twentieth- and twenty-first-century texts and images alongside their pre-emancipation counterparts. These provocative, unexpected couplings include how Toni Morrison’s depiction of infanticide regenders Orlando Patterson’s theory of social death, and how Mary Prince’s eighteenth-century fugitive slave narrative is resignified through the representational paradoxes of Gayl Jones’s blues novel ＜em＞Corregidora＜/em＞. Throughout, Kaplan offers new perspectives on Black motherhood and gendered labor, from debates over the relationship between President Thomas Jefferson and Sally Hemings, to the demise of racist icon Aunt Jemima, to discussions of Black reproductive freedom and abortion.＜/p＞ ＜p＞＜em＞The Black Reproductive＜/em＞ gives vital insight into the historic and ongoing conditions of Black unfreedom, and points to the possibilities for a Black feminist practice of individual and collective freedom.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A study of how film has continually intervened in our sense of perception, with far-ranging insights into the current state of lived experience＜/strong＞＜/p＞ ＜p＞How has cinema transformed our senses, and how does it continue to do so? Positing film as a stage in the long coevolution of human consciousness and visual technology, ＜em＞Postcinematic Vision＜/em＞ offer a fresh perspective on the history of film while providing startling new insights into the so-called divide between cinematic and digital media.＜/p＞ ＜p＞Starting with the argument that film viewing has long altered neural circuitry in our brains, Roger F. Cook proceeds to reevaluate film’s origins, as well as its merger with digital imaging in the 1990s. His animating argument is that film has continually altered the relation between media and human perception, challenging the visual nature of modern culture in favor of a more unified, pan-sensual way of perceiving. Through this approach, he makes original contributions to our understanding of how mediation is altering lived experience.＜/p＞ ＜p＞Along the way, Cook provides important reevaluations of well-known figures such as Franz Kafka, closely reading cinematic passages in the great author’s work; he reassesses the conventional wisdom that Marshall McLuhan was a technological determinist; and he lodges an original new reading of ＜em＞The Matrix＜/em＞. Full of provocative and far-reaching ideas, ＜em＞Postcinematic Vision＜/em＞ is a powerful work that helps us see old concepts anew while providing new ideas for future investigation.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Elaborately conceived, grandly constructed insane asylumsーranging in appearance from classical temples to Gothic castlesーwere once a common sight looming on the outskirts of American towns and cities. Many of these buildings were razed long ago, and those that remain stand as grim reminders of an often cruel system. For much of the nineteenth century, however, these asylums epitomized the widely held belief among doctors and social reformers that insanity was a curable disease and that environmentーarchitecture in particularーwas the most effective means of treatment.＜/p＞ ＜p＞In ＜em＞The Architecture of Madness,＜/em＞ Carla Yanni tells a compelling story of therapeutic design, from America’s earliest purposeーbuilt institutions for the insane to the asylum construction frenzy in the second half of the century. At the center of Yanni’s inquiry is Dr. Thomas Kirkbride, a Pennsylvania-born Quaker, who in the 1840s devised a novel way to house the mentally diseased that emphasized segregation by severity of illness, ease of treatment and surveillance, and ventilation. After the Civil War, American architects designed Kirkbride-plan hospitals across the country.＜/p＞ ＜p＞Before the end of the century, interest in the Kirkbride plan had begun to decline. Many of the asylums had deteriorated into human warehouses, strengthening arguments against the monolithic structures advocated by Kirkbride. At the same time, the medical profession began embracing a more neurological approach to mental disease that considered architecture as largely irrelevant to its treatment.＜/p＞ ＜p＞Generously illustrated, ＜em＞The Architecture of Madness＜/em＞ is a fresh and original look at the American medical establishment’s century-long preoccupation with therapeutic architecture as a way to cure social ills.＜/p＞ ＜p＞Carla Yanni is associate professor of art history at Rutgers University and the author of ＜em＞Nature’s Museums: Victorian Science and the Architecture of Display.＜/em＞＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How nineteenth-century social reformers devised a new set of radical blueprints for society＜/strong＞＜/p＞ ＜p＞In the middle of the nineteenth century, a utopian impulse flourished in the United States through the circulation of architectural and urban plans predicated on geometrically distinct designs. Though the majority of such plans remained unrealized, ＜em＞The Shape of Utopia＜/em＞ emphasizes the enduring importance of these radical propositions and their ability to visualize alternatives to what was then a newly emerging capitalist nation.＜/p＞ ＜p＞Drawing diagrammatic plans for structures such as octagonal houses, a hexagonal anarchist city, and circular centers of equitable commerce, these various architectural utopians applied geometric forms to envision a more just and harmonious society. Highlighting the inherent political capacity of architecture, Irene Cheng showcases how these visionary planners used their blueprints as persuasive visual rhetoric that could mobilize others to share in their aspirations for a better world.＜/p＞ ＜p＞Offering an extensive and uniquely focused view of mid-nineteenth-century America’s rapidly changing cultural landscape, this book examines these utopian plans within the context of significant economic and technological transformation, encompassing movements such as phrenology, anarchism, and spiritualism. Engaging equally with architectural history, visual culture studies, and U.S. history, ＜em＞The Shape of Utopia＜/em＞ documents a pivotal moment in American history when ordinary people ardently believed in the potential to reshape society.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Ertrinkende Fl?chtlinge im Mittelmeer, Anschl?ge von Fundamentalisten auf Zeitungsredaktionen, die Angst vor den Fremden bei uns, gepaart mit dem Gef?hl, sich selbst fremd zu sein: In drei gro?en Texten ? "Die Schutzbefohlenen", "Wut" und "Unseres" ? macht Elfriede Jelinek den fortschreitenden Wahnsinn unserer Gegenwart unmittelbar erfahrbar. Wortm?chtig und hellsichtig stellt sie westliche Grundwerte wie Humanismus, Demokratie, Meinungsfreiheit und Menschenrechte auf den Pr?fstand und scheut sich dabei nicht, ihre eigene Rat- und Fassungslosigkeit angesichts einer Welt zu artikulieren, in der sich politische Fronten immer mehr verh?rten und zugleich anscheinend nichts mehr sicher ist."Vermutlich gibt es in der Gegenwartsliteratur nichts Vergleichbares … ein Monument, eine himmelschreiende Klage von antikischer Wucht und Trauer." (Die Zeit) "Ein bestechend scharfes Oratorium, unter dem ein Abgrund klafft, aus dem kein g?ttliches Licht, sondern die schmerzliche Erkenntnis des Versagens dringt." (Der Freitag)＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Mechademia 10＜/em＞ revolves around a maelstrom of events: the devastation of 3/11ーthe earthquake, tsunami, and nuclear reactor crisesーand the ongoing environmental disasters that have recently overtaken Japan. Because anime and manga have long proposed (and illustrated) alternative worldsーsome created after catastrophesーit is fitting that this volume should consider this propensity for “world renewal.”＜/p＞ ＜p＞Individual essays range widely, from a poetic and personal reflection on the ritual of ＜em＞t?r? nagashi＜/em＞ (the lighting of floating paper lanterns that has traditionally commemorated souls lost in great public cataclysms, such as war) to a study of the various counterfactual histories written about the historical figure of Toyotomi Hideyoshi, a former peasant farmer who became a military dictator of feudal Japan. The book also includes an original manga, ＜em＞Nanohana＜/em＞, from the popular artist Hagio Moto, who is quoted as saying: “I want to think together with everyone else about Fukushima and Chernobyl, about the future of the Earth, about the future of humankind, and to keep thinking moving forward.”＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞After World War II, America’s religious denominations spent billions on church architecture as they spread into the suburbs. In this richly illustrated history of midcentury modern churches in the Midwest, Gretchen Buggeln shows how architects and suburban congregations joined forces to work out a vision of how modernist churches might help reinvigorate Protestant worship and community. The result is a fascinating new perspective on postwar architecture, religion, and society.＜/p＞ ＜p＞Drawing on the architectural record, church archives, and oral histories, ＜em＞The Suburban Church＜/em＞ focuses on collaborations between architects Edward D. Dart, Edward A. S?vik, Charles E. Stade, and seventy-five congregations. By telling the stories behind their modernist churches, the book describes how the buildings both reflected and shaped developments in postwar religionーits ecumenism, optimism, and liturgical innovation, as well as its fears about staying relevant during a time of vast cultural, social, and demographic change.＜/p＞ ＜p＞While many scholars have characterized these congregations as “country club” churches, ＜em＞The Suburban Church＜/em＞ argues that most were earnest, well-intentioned religious communities caught between the desire to serve God and the demands of a suburban milieu in which serving middle-class families required most of their material and spiritual resources.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Bodies in Suspense＜/em＞ presents a powerful new way to think through postdigital cinema and the affective turn in critical theory. According to Alanna Thain, suspense films allow us to experience the relation between two bodies: that of the film and that of the viewer. Through the “time machine” of suspense, film form, gender, genre, and spectatorship are revealed in innovative and different ways. These films not only engage us directly in ethical concerns, but also provide a key for understanding corporeal power in the digital era.＜/p＞ ＜p＞Offering a new framework for understanding cinematic suspense, ＜em＞Bodies in Suspense＜/em＞ argues that the “body in time” enables us to experience the temporal dimension of the body directly. This is the first book to link two contemporary frames of analysis: questions of cinematic temporality and contemporary affect theory. Thain conducts close readings of influential suspense films by Alfred Hitchcock, David Lynch, Christian Marclay, Rian Johnson, and Lou Ye, and sets forth a compelling new theory of cinema, reading for the productivity of the “crime of time” that stages the duplicity of cinematic bodies. Through these films that foreground doubled characters and looping, Thain explores Gilles Deleuze’s claim that “the direct time-image is the phantom which has always haunted cinema.”＜/p＞ ＜p＞A vital new addition to film theory, corporeality and affect theory, feminist theory, and the philosophy of timeーand one of the first books to explore David Lynch’s Hollywood trilogyー＜em＞Bodies in Suspense＜/em＞ asks us to pay attention, above all, to the ways in which the condition of spectatorship creates a doubling sensation with important philosophical repercussions.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞From the ＜em＞New Yorker＜/em＞’s inimitable first pop music critic comes this pioneering collection of essays by a conscientious writer whose political realm is both radical and rational, and whose prime preoccupations are with rock ’n’ roll, sexuality, and above all, freedom. Here Ellen Willis assuredly captures the thrill of music, the disdain of authoritarian culture, and the rebellious spirit of the ’60s and ’70s.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A new exploration of how digital media assert the relevance of dance in a wired world＜/strong＞＜/p＞ ＜p＞How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In ＜em＞Perpetual Motion＜/em＞, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community.＜/p＞ ＜p＞From original research on dance today to political economies of digital media to the philosophy of dance, ＜em＞Perpetual Motion＜/em＞ provides an ambitious, invigorating look at a commonly shared practice.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A deep analysis of an enigmatic artist whose oeuvre opens new spaces for understanding feminism, the body, and identity＜/strong＞＜/p＞ ＜p＞Popular and pioneering as a conceptual artist, Rosemarie Trockel has never before been examined at length in a dedicated book. This volume fills that gap while articulating a new interpretation of feminist theory and bodily identity based around the idea of schizogenesis central to Trockel’s work.＜/p＞ ＜p＞Schizogenesis is a fission-like form of asexual reproduction in which new organisms are created but no original is left behind. Author Katherine Guinness applies it in surprising and insightful ways to the career of an artist who has continually reimagined herself and her artistic vision. Drawing on the philosophies of feminists such as Simone de Beauvoir, Shulamith Firestone, and Monique Wittig, Guinness argues that Trockel’s varied output of painting, fabric, sculpture, film, and performance is best seen as opening a space that is peculiarly feminist yet not contained by dominant articulations of feminism.＜/p＞ ＜p＞Utilizing a wide range of historical and popular knowledgeーfrom Baader Meinhof to Pinocchio, poodles, NASA, and BrechtーKatherine Guinness gives us the associative and ever-branching readings that Trockel’s art requires. With a spirit for pursuing the surprising and the obscure, Guinness delves deep into a creator who is largely seen as an enigma, revealing Trockel as a thinker who challenges and transforms the possibilities of bodily representation and identity.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Ambient Media＜/em＞ examines music, video art, film, and literature as tools of atmospheric design in contemporary Japan, and what it means to use media as a resource for personal mood regulation. Paul Roquet traces the emergence of ambient styles from the environmental music and Erik Satie boom of the 1960s and 1970s to the more recent therapeutic emphasis on healing and relaxation.＜/p＞ ＜p＞Focusing on how an atmosphere works to reshape those dwelling within it, Roquet shows how ambient aesthetics can provide affordances for reflective drift, rhythmic attunement, embodied security, and urban coexistence. Musicians, video artists, filmmakers, and novelists in Japan have expanded on Brian Eno’s notion of the ambient as a style generating “calm, and a space to think,” exploring what it means to cultivate an ambivalent tranquility set against the uncertain horizons of an ever-shifting social landscape. Offering a new way of understanding the emphasis on “reading the air” in Japanese culture, ＜em＞Ambient Media＜/em＞ documents both the adaptive and the alarming sides of the increasing deployment of mediated moods.＜/p＞ ＜p＞Arguing against critiques of mood regulation that see it primarily as a form of social pacification, Roquet makes a case for understanding ambient media as a neoliberal response to older modes of collective attunementーone that enables the indirect shaping of social behavior while also allowing individuals to feel like they are the ones ultimately in control.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Exploring the significance of metaphor in modern art＜/strong＞＜/p＞ ＜p＞“Where do the roots of art lie?” asked Der Sturm founder Herwarth Walden. “In the people? Behind the mountains? Behind the planets. He who has eyes to hear, feels.” Walden’s Der Sturmーthe journal, gallery, performance venue, press, theater, bookstore, and art school in Berlin (1910?1932)ーhas never before been the subject of a book-length study in English. ＜em＞Four Metaphors of Modernism＜/em＞ positions Der Sturm at the center of the avant-garde and as an integral part of Euro-American modern art, theory, and practice.＜/p＞ ＜p＞Jenny Anger traces Walden’s aesthetic and intellectual roots to Franz Liszt and Friedrich Nietzscheーforebears who led him to embrace a literal and figurative mixing of the arts. She then places Der Sturm in conversation with New York’s Soci?t? Anonyme (1920?1950), an American avant-garde group modeled on Der Sturm and founded by Katherine Sophie Dreier, Marcel Duchamp, and Man Ray. Working against the tendency to examine artworks and artist groups in isolation, Anger underscores the significance of both organizations to the development and circulation of international modernism.＜/p＞ ＜p＞Focusing on the recurring metaphors of piano, glass, water, and home, ＜em＞Four Metaphors of Modernism＜/em＞ interweaves a historical analysis of these two prominent organizations with an aesthetic analysis of the metaphors that shaped their practices, reconceiving modernism itself. Presented here is a modernism that is embodied, gendered, multisensory, and deeply committed to metaphor and a restoration of abstraction’s connection with the real.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The preoccupation with “depth” and its relevance to cinema and media studies＜/strong＞＜/p＞ ＜p＞For decades the concept of depth has been central to critical thinking in numerous humanities-based disciplines, legitimizing certain modes of inquiry over others. ＜em＞Deep Mediations＜/em＞ examines why and how this is, as scholars today navigate the legacy of depth models of thought and vision, particularly in light of the “surface turn” and as these models impinge on the realms of cinema and media studies.＜/p＞ ＜p＞The collection’s eighteen essays seek to understand the decisive but evolving fixation on depth by considering the term’s use across a range of conversations as well as its status in relation to critical methodologies and the current mediascape. Engaging contemporary debates about new computing technologies, the environment, history, identity, affect, audio/visual culture, and the limits and politics of human perception, ＜em＞Deep Mediations＜/em＞ is a timely interrogation of depth’s ongoing importance within the humanities.＜/p＞ ＜p＞Contributors: Laurel Ahnert; Taylor Arnold, U of Richmond; Erika Balsom, King’s College London; Brooke Belisle, Stony Brook University; Jinhee Choi, King’s College London; Jennifer Fay, Vanderbilt U; Lisa Han, UC Santa Barbara; Jean Ma, Stanford U; Shaka McGlotten, Purchase College-SUNY; Susanna Paasonen, U of Turku, Finland; Jussi Parikka, U of Southampton; Alessandra Raengo, Georgia State U; Pooja Rangan, Amherst College; Katherine Rochester, VIA Art Fund in Boston; Karl Schoonover, University of Warwick (UK); Jordan Schonig, Michigan State U; John Paul Stadler, North Carolina State U; Nicole Starosielski, New York U; Lauren Tilton, U of Richmond.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Indonesian court dance, a purportedly pure and untouched tradition, is famed throughout the world for its sublime calm and stillness. Yet this unyieldingly peaceful surface conceals a time of political repression and mass killing. Between 1965 and 1966, some one million Indonesiansーincluding a large percentage of the country’s musicians, artists, and dancersーwere killed, arrested, or disappeared as Suharto established a virtual dictatorship that ruled for the next thirty years.＜/p＞ ＜p＞In ＜em＞The Dance That Makes You Vanish＜/em＞, an examination of the relationship between female dancers and the Indonesian state since 1965, Rachmi Diyah Larasati elucidates the Suharto regime’s dual-edged strategy: persecuting and killing performers perceived as communist or left leaning while simultaneously producing and deploying “replicas”ーnew bodies trained to standardize and unify the “unruly” movements and voices of those vanishedーas idealized representatives of Indonesia’s cultural elegance and composure in bowing to autocratic rule. Analyzing this history, Larasati shows how the Suharto regime’s obsessive attempts to control and harness Indonesian dance for its own political ends have functioned as both smoke screen and smoke signal, inadvertently drawing attention to the site of state violence and criminality by constantly pointing out the “perfection” of the mask that covers it.＜/p＞ ＜p＞Reflecting on her own experiences as an Indonesian national troupe dancer from a family of persecuted female dancers and activists, Larasati brings to life a powerful, multifaceted investigation of the pervasive use of culture as a vehicle for state repression and the global mass-marketing of national identity.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞How does architecture make its appearance in civil society? ＜em＞Constitutional Modernism＜/em＞ pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, Timothy Hyde reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution.＜/p＞ ＜p＞By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, Hyde offers a new view of architectural modernism as a political and social instrument. He contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by Hyde’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. He examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design.＜/p＞ ＜p＞Read from the perspective of architectural history, ＜em＞Constitutional Modernism＜/em＞ demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞How does architecture make its appearance in civil society? ＜em＞Constitutional Modernism＜/em＞ pursues this challenging question by exploring architecture, planning, and law as cultural forces. Analyzing the complex entanglements between these disciplines in the Cuban Republic, Timothy Hyde reveals how architects joined with other professionals and intellectuals in efforts to establish a stable civil society, from the promulgation of a new Cuban Constitution in 1940 up until the Cuban Revolution.＜/p＞ ＜p＞By arguing that constitutionalism was elaborated through architectural principles and practices as well as legal ones, Hyde offers a new view of architectural modernism as a political and social instrument. He contends that constitutionalism produced a decisive confluence of law and architecture, a means for planning the future of Cuba. The importance of architecture in this process is laid bare by Hyde’s thorough scrutiny of a variety of textual, graphical, and physical artifacts. He examines constitutional articles, exhibitions, interviews, master plans, monuments, and other primary materials as acts of design.＜/p＞ ＜p＞Read from the perspective of architectural history, ＜em＞Constitutional Modernism＜/em＞ demonstrates how the modernist concepts that developed as an international discourse before the Second World War evolved through interactions with other disciplines into a civil urbanism in Cuba. And read from the perspective of Cuban history, the book explains how not only material products such as buildings and monuments but also the immaterial methods of architecture as a cultural practice produced ideas that had consequential effects on the political circumstances of the nation.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。