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Painting the City Red illuminates the dynamic relationship between the visual media, particularly film and theater, and the planning and development of cities in China and Taiwan, from the emergence of the People’s Republic in 1949 to the staging of the Beijing Olympics in 2008. Yomi Braester argues that the transformation of Chinese cities in recent decades is a result not only of China’s abandonment of Maoist economic planning in favor of capitalist globalization but also of a shift in visual practices. Rather than simply reflect urban culture, movies and stage dramas have facilitated the development of new perceptions of space and time, representing the future city variously as an ideal socialist city, a metropolis integrated into the global economy, and a site for preserving cultural heritage.

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Hamid Naficy is one of the world’s leading authorities on Iranian film, and A Social History of Iranian Cinema is his magnum opus. Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, it explains Iran’s peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran. This comprehensive social history unfolds across four volumes, each of which can be appreciated on its own.

Volume 1 depicts and analyzes the early years of Iranian cinema. Film was introduced in Iran in 1900, three years after the country’s first commercial film exhibitor saw the new medium in Great Britain. An artisanal cinema industry sponsored by the ruling shahs and other elites soon emerged. The presence of women, both on the screen and in movie houses, proved controversial until 1925, when Reza Shah Pahlavi dissolved the Qajar dynasty. Ruling until 1941, Reza Shah implemented a Westernization program intended to unite, modernize, and secularize his multicultural, multilingual, and multiethnic country. Cinematic representations of a fast-modernizing Iran were encouraged, the veil was outlawed, and dandies flourished. At the same time, photography, movie production, and movie houses were tightly controlled. Film production ultimately proved marginal to state formation. Only four silent feature films were produced in Iran; of the five Persian-language sound features shown in the country before 1941, four were made by an Iranian expatriate in India.

A Social History of Iranian Cinema

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No concept has been more central to the emergence and evolution of identity studies than social justice. In historical and theoretical accounts, it crystallizes the progressive politics that have shaped the academic study of race, gender, and sexuality. Yet few scholars have deliberated directly on the political agency that notions of justice confer on critical practice. In Object Lessons, Robyn Wiegman contemplates this lack of attention, offering the first sustained inquiry into the political desire that galvanizes identity fields. In each chapter, she examines a key debate by considering the political aspirations that shape it. Addressing Women's Studies, she traces the ways that "gender" promises to overcome the exclusions of "women." Turning to Ethnic Studies, she examines the deconstruction of "whiteness" as an antiracist methodology. As she explores American Studies, she links internationalization to the broader quest for noncomplicity in contemporary criticism. Her analysis of Queer Studies demonstrates how the commitment to antinormativity normalizes the field. In the penultimate chapter, Wiegman addresses intersectionality as the most coveted theoretical approach to political resolution in all of these fields.

• Sales Rank: #878342 in Books
• Brand: Wiegman, Robyn
• Published on: 2012-01-11
• Original language: English
• Number of items: 1
• Dimensions: 9.10" h x .90" w x 6.10" l, 1.25 pounds
• Binding: Paperback
• 398 pages

From the Back Cover
"Wiegman is a brilliant thinker and her text . . . is a thoughtful meditation on the narratives that work to sustain the aspirational hopes of disciplines emerging out of left critique."-- Elizabeth Groeneveld, Reviews in Cultural Theory

“This brilliant, commodious book gives us a name for that fast-moving conceptual traffic arrayed across the academic galaxy from the 1970s to the present; as a strategy for naming, Object Lessons brings about ‘identity knowledges’ as a rethought object of desire and destination, its political commitments pursued to the bone, in the immediacy of its institutional arrangements. The reader will not want to miss Robyn Wiegman in this quite stunning and masterful outcome.”—Hortense Spillers, author of Black, White, and In Color

“This book is as incisive in its articulation of the stakes involved in post–Civil Rights academic field formations as it is responsive to the affective investments shaping specific fields' modes of self-governance and self-reinvention. What do we want from identity knowledges—and what do they offer us? In the incongruent spaces opened up by these questions, and against the nonsynchronized discourses marked by political obligations, institutional structures, and methodological ambitions, Robyn Wiegman narrates what she calls object lessons with inimitable intensity, agility, and imagination. If visionary thinking about identity studies is an art, she has given us a brilliant master-class performance.”—Rey Chow, author of Entanglements, or Transmedial Thinking about Capture

“This is a contentious book, but without contention, knowledges become rigid and fortified. Robyn Wiegman induces us to think more carefully about the ways in which politically committed knowledges make themselves as they make knowledge of their objects of investigation.”—Elizabeth Grosz, author of Becoming Undone: Darwinian Reflections on Life, Politics, and Art

About the Author
Robyn Wiegman is Professor of Women's Studies and Literature at Duke University. She is the author of American Anatomies: Theorizing Race and Gender, editor of Women's Studies on Its Own, and coeditor of The Futures of American Studies, Feminism Beside Itself, and Who Can Speak: Identity and Critical Authority.

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4 of 4 people found the following review helpful.
Must read for all critical humanities and interpretive social sciences
By PMCarter
Challenging, engaging, and totally necessary, Wiegman's Object Lessons will make you rethink the role of social justice as an animating force in a range of identity-related fields. At the same time, you will be challenged to rethink your own relationship to those disciplinary formations and the debates they have instantiated. Object Lessons gives readers the same type of scholarship we have come to expect from Wiegman's prior work (e.g. American Anatomies), in that it moves through the intellectual argument while also tracking its crystallization in academic disciplinarity, leaving no disciplinary / epistemological stone unturned. This is remarkable given the number of fields she brings into critical view: American Studies, Women's Studies, Ethnic Studies, and Queer Studies. All scholars working in the critical humanities will benefit from Wiegman's unusually keen eye for disciplinary critique, the impressive depth and breath of archive, and the brilliance of her argumentation and writing.

3 of 3 people found the following review helpful.
object lessons
By Kimber
This book offers a complex discussion of the study of race, gender, and sexuality as it has developed in the U.S. since the 1960's. But instead of defending these intellectual projects against the conservative backlash that has threatened them, Wiegman explores what she calls their "political desire" from within the theoretical traditions they have created. A powerful, challenging, and rewarding read!

1 of 1 people found the following review helpful.
Five Stars
By Pen Name
Two words Robyn Wiegman...a tour de force.

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Baroque New Worlds traces the changing nature of Baroque representation in Europe and the Americas across four centuries, from its seventeenth-century origins as a Catholic and monarchical aesthetic and ideology to its contemporary function as a postcolonial ideology aimed at disrupting entrenched power structures and perceptual categories. Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe’s own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide.

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In Freedom with Violence, Chandan Reddy develops a new paradigm for understanding race, sexuality, and national citizenship. He examines a crucial contradiction at the heart of modernity: the nation-state’s claim to provide freedom from violence depends on its systematic deployment of violence against peoples perceived as nonnormative and irrational. Reddy argues that the modern liberal state is organized as a “counterviolence” to race even as, and precisely because, race persists as the condition of possibility for the modern subject. Rejecting liberal notions of modernity as freedom from violence or revolutionary ideas of freedom through violence, Reddy contends that liberal modernity is a structure for authorizing state violence. Contemporary neoliberal societies link freedom to the notion of legitimate (state) violence and produce narratives of liberty that tie rights and citizenship to institutionalized violence. To counter these formulations, Reddy proposes an alternative politics of knowledge grounded in queer of color critique and critical ethnic studies. He uses issues that include asylum law and the military’s “don’t ask, don’t tell” policy to illustrate this major rethinking of the terms of liberal modernity.

• Sales Rank: #915121 in Books
• Published on: 2011-10-21
• Original language: English
• Number of items: 1
• Dimensions: 9.10" h x .80" w x 6.10" l, .95 pounds
• Binding: Paperback
• 320 pages

Review
“Freedom with Violence is a one of a kind, once in a generation book. Chandan Reddy argues that ‘American political modernity’ depends absolutely on a notion of freedom crafted out of a constitutive violence which takes the form of race. In chapters on Du Bois and the logics of nationality and territoriality; Nella Larson and the history of black alienation; immigration and sexuality; and gay marriage and the perils of legal recognition, he pulls his argument into tighter and tighter spirals, connecting his thesis about race to brilliantly original accounts of sexuality and making stunning connections between North American racial politics and European colonialism. This is a classic, landmark study.”—Judith Halberstam, author of The Queer Art of Failure

“Freedom with Violence is one of the most important books of our time. Chandan Reddy formulates a new understanding of the relationship between the state and nonnormative social identities, explains the epistemological foundations for prevailing political practices, and argues for the urgent need to deploy queer of color critique and build a critical ethnic studies from it. Moving deftly across disciplines and decades, analyzing literature and law, social identities and state formation, expressive culture and critical theory, he reveals unexpected links between the race-gender-sex-citizenship nexus that emerged at the turn of the twentieth century and the one that prevails at the turn of the twenty-first.”—George Lipsitz, author of How Racism Takes Place

“Deft, capacious, and provocative, Freedom with Violence promises a major shift in how we think race, sexuality, and US imperialism in relation to the compromised project of modernity. Our political and intellectual formations will never be the same again.”—M. Jacqui Alexander, author of Pedagogies of Crossing: Meditations on Feminism, Sexual Politics, Memory, and the Sacred

“[A] significant contribution in both critical ethnic studies and queer studies. Reddy’s willingness to look beyond his examples could even be the reason it offers so much.” (Stine H. Bang Svendsen Ethnic and Racial Studies)

“In this ambitious book, Reddy examines the coupling of freedom and violence under the modern state. He untangles literary texts, legal structures and social practices to argue that the state legitimizes further racial violence through granting freedom.” (Chandra Russo and Howard Winant Sexualities)

“Reddy has produced a substantial work that rethinks the interconnections between race and sexuality as constitutive to the vision of freedom and identity, and he exposes the violence that attends those ideals in the 20th century. . . . This book forced this reviewer to rethink his own engagement with these issues in his teaching. It will challenge many boundaries in the university and in US culture. Summing Up: Highly recommended. Sophisticated upper-division undergraduates, graduate students, researchers, faculty.” (D. E. Magill Choice)

“Reddy’s previous work brilliantly spilled over disciplinary boundaries in ways that have made Freedom with Violence one of the most widely awaited first books in my memory. George Lipsitz’s back cover assessment of it as ‘one of the most important books of our times’ captures both the import and the timeliness of Reddy’s contribution.” (David Roediger American Quarterly)

About the Author

Chandan Reddy is Assistant Professor of English at the University of Washington.

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1 of 37 people found the following review helpful.
One Star
By Jay S.
Postmodern gibberish....

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During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1960s. The Japanese government renewed its Cold War partnership with the United States in 1960, defeating protests against a new security treaty through parliamentary action and the use of riot police. Afterward, the government promoted a depoliticized everyday world of high growth and consumption, creating a sanitized national image to present in the Tokyo Olympics of 1964. Artists were first to challenge this new political mythology. Marotti examines their political art, and the state's aggressive response to it. He reveals the challenge mounted in projects such as Akasegawa Genpei's 1,000-yen prints, a group performance on the busy Yamanote train line, and a plan for a giant guillotine in the Imperial Plaza. Focusing on the annual Yomiuri Indépendant exhibition, he demonstrates how artists came together in a playful but powerful critical art, triggering judicial and police response. Money, Trains, and Guillotines expands our understanding of the role of art in the international 1960s, and of the dynamics of art and policing in Japan.

• Sales Rank: #1544401 in Books
• Published on: 2013-03-27
• Original language: English
• Number of items: 1
• Dimensions: 9.20" h x 1.00" w x 6.10" l, 1.90 pounds
• Binding: Paperback
• 464 pages

Review
"Money, Trains, and Guillotines is the first extended study of art and activism in Japan during the 1960s, and as such it constitutes a major contribution not only to the history of Japanese art and politics but also to our knowledge of activism in the 1960s." (Thomas LaMarre, author of The Anime Machine: A Media Theory of Animation)

"The annual Yomiuri Indépendant exhibition, the Hi Red Center group, and the ¥1000 Note Trial are surely among the most significant avant-garde initiatives anywhere in the world in the 1960s. This stunning study assesses the oppositional politics of these and other Japanese avant-garde undertakings by probing deep into the history of that which they opposed: the arrogation of power by the postwar Japanese state over everyday life. In William Marotti's hard-hitting theoretical analysis and accessible prose, the seemingly nonsensical antics of avant-gardists become occasions for grasping fundamental truths about the political makeup of postwar Japanese society." (Bert Winther-Tamaki, author of Maximum Embodiment: Yoga, the Western Painting of Japan, 1912–1955)

“William Marotti explicates the social and political context of the Yomiuri Independent avant-garde. . . . [A] remarkably detailed and vivid view of the activities of Akasegawa and his circle.” (Mark Schilling Japan Times)

“None of these art interventions documented in Money, Trains and Guillotines are fully understandable without the background of the politics of the time, and the author skillfully presents both art and politics, focused and interwoven. Author William Marotti's twenty-year effort has produced a fine book.” (Mike Mosher Leonardo)

“[An] innovative, carefully crafted interdisciplinary history of the cultural origins of Japan’s 1968. . . . Appropriate to its rich and diverse visual subject matter, it is also beautifully illustrated and produced. Its provocative interrogation of conventional scholarly boundaries of discipline, chronology, narrative, and ontology, at the level not only of theory but also of practice, suggests a kinship with the efforts of the artists whose story it so carefully and sympathetically excavates.” (Ethan Mark American Historical Review)

"Marotti’s subtle readings of these texts, underappreciated in Japanese scholarship, make a strong case for their importance within art history. Money, Trains, and Guillotines not only fills in a major gap within English-language understanding of postwar Japanese art. Once translated into Japanese—which it should be, promptly—it should sharpen the discourse within Akasegawa’s home country." (Kenji Kajiya Pacific Affairs)

“Marotti's detailed analysis of the Japanese artists' evolution from surrealist sensibility to interventionist action contributes immensely to our understanding of how the political aesthetic so characteristic of the 1960s emerged simultaneously in numerous countries…. A vivid, highly informed and richly rewarding investigation of art and politics under post-1945 capitalism in Japan.” (Justin Jesty Art in America)

“William Marotti’s book is a landmark study of political art and the politics of artistic expression in contemporary Japan. . . . Marotti uncovers a fascinating, provocative, and sometimes-shocking history of political art. . ..  Marotti’s attention to detail and to the emotional life of his subjects is truly engrossing in the best traditions of microhistory. . . .  [T]his is a richly documented, thoughtprovoking, and marvelously sculptured piece of scholarship that will be immensely enriching for anyone interested in issues of constitutional freedoms, artistic expression, and the intersection of politics and the everyday in postwar Japan.” (Simon Avenell Journal of Japanese Studies)

"This book will form a major addition to my teaching, providing an important counter-balance to the dominant narrative of a postwar Japan marching in drumbeat towards a capitalist future. In illuminating the ways in which culture and radical politics were enmeshed at this key juncture of postwar Japanese history, Marotti highlights the importance of the everyday as 'the central political arena for dissent and for policing.'" (Mark Pendleton Journal of Asian Studies)

About the Author

William Marotti is Associate Professor of History at the University of California, Los Angeles.

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Insurgent Encounters illuminates the dynamics of contemporary transnational social movements, including those advocating for women and indigenous groups, environmental justice, and alternative—cooperative rather than exploitative—forms of globalization. The contributors are politically engaged scholars working within the social movements they analyze. Their essays are both models of and arguments for activist ethnography. They demonstrate that such a methodology has the potential to reveal empirical issues and generate theoretical insights beyond the reach of traditional social-movement research methods. Activist ethnographers not only produce new understandings of contemporary forms of collective action, but also seek to contribute to struggles for social change. The editors suggest networks and spaces of encounter as the most useful conceptual rubrics for understanding shape-shifting social movements using digital and online technologies to produce innovative forms of political organization across local, regional, national, and transnational scales. A major rethinking of the practice and purpose of ethnography, Insurgent Encounters challenges dominant understandings of social transformation, political possibility, knowledge production, and the relation between intellectual labor and sociopolitical activism.

Contributors. Giuseppe Caruso, Maribel Casas-Cortés, Janet Conway, Stéphane Couture, Vinci Daro, Manisha Desai, Sylvia Escárcega, David Hess, Jeffrey S. Juris, Alex Khasnabish, Lorenzo Mosca, Michal Osterweil, Geoffrey Pleyers, Dana E. Powell, Paul Routledge, M. K. Sterpka, Tish Stringer

• Sales Rank: #820941 in Books
• Brand: Brand: Duke University Press Books
• Published on: 2013-04-12
• Original language: English
• Number of items: 1
• Dimensions: 9.10" h x 1.10" w x 6.20" l, 1.45 pounds
• Binding: Paperback
• 472 pages

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• Used Book in Good Condition

Review
"Insurgent Encounters is an exciting and timely collection. It treats topics of great interest to students and scholars in a variety of fields, especially those concerned with ethnography, social movements, and activist scholarship. I am convinced that the engagement of activist ethnography with transnational social movements has the power to transform the disciplines, and ethnography, in interesting ways."—Michael Hardt, coauthor of the books Commonwealth, Multitude, and Empire

"This important collection represents the best work by anthropologists who are reshaping ethnography 'of' and 'for' social movements. No other book addresses the present-day intersection and increasingly mutual identification of anthropological research and social-movement activism as thoroughly or comprehensively as this does. What's more, one gets the sense that the essays derive from a working community of activist-scholars living up to the vision of 'network' that the volume itself exemplifies. For me, the collection as an artifact and enactment of the kinds of collaboration that it discusses is one of its most fascinating features."—George E. Marcus, coauthor of Designs for an Anthropology of the Contemporary

“The editors’ writing will capture readers’ attention and the stories, radical activist moments, and style of ethnographic writing in each subsequent case study will hold it...This collection represents an important advance in the study of social movements generally and transnational activism specifically as it is the first book to focus on the methods, perspectives and theoretical insights generated by ethnography.” (Julie A. Pelton International Dialogue)

“This new collection of essays edited by Jeffrey Juris and Alex Khasnabish is a refreshing and welcome contribution to the study of social movements…. this is a theoretically sophisticated and engaging collection of essays, and a welcome contribution to our understanding of radical social movements.” (Patrick C. Wilson Labour/Le Travail)

"In short, this is a bold experiment of what an activist-scholarhsip might look like, raising profound epistemological and ethical questions which only become more pressing as the ecological and social crises of this century deepen. I applaud the editors for their courage, and answer their call to bring a militant ethnography to the mainstream."  (Vita Peacock Critique of Anthropology)

“Insurgent Encounters makes an important contribution to the ethnography of activism and should be widely read. . . . For those grappling with how to use ethnographic methods in activist research this edited volume will make for a good introduction into many of the dilemmas and insights into thinking through political engagement and transformational change.”  (Junaid Rana Journal of Anthropological Research)

About the Author

Jeffrey S. Juris is Associate Professor of Anthropology in the Department of Sociology and Anthropology at Northeastern University. He is the author of Networking Futures: The Movements against Corporate Globalization, also published by Duke University Press, and coauthor of Global Democracy and the World Social Forums.

Alex Khasnabish is Assistant Professor of Anthropology in the Department of Sociology and Anthropology at Mount Saint Vincent University. He is the author of Zapatistas: Rebellion from the Grassroots to the Global and Zapatismo Beyond Borders: New Imaginations of Political Possibility.

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0 of 0 people found the following review helpful.
Deeply thoughtful book.
By Carolyn G. Guertin
A well-informed collection of essays that speak to each other and beyond. I learned much and was moved by the authors' connection to their materials and causes.

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