CINEMA AND MEDIA STUDIES
2021
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PHOTOGRAPHY/ AMERICAN HISTORY
PHOTOGRAPHIC PRESIDENTS
Making History from Daguerreotype to Digital
CARA A. FINNEGAN Defining the Chief Executive via flash powder and selfie sticks “This narrative weaves the evolution of a technology, a communications medium, and the highest office in the land into a vivid historical panorama. In current times, in an atmosphere in which visual politics can be all too affecting and effecting, Photographic Presidents places the visual presidency into a necessary frame.” —MICHAEL SHAW, publisher, Reading the Pictures Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.
APRIL 2021 296 PAGES. 6 X 9 INCHES 16 COLOR PHOTOGRAPHS, 46 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04379-6 $110.00x £88.00
An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.
PAPER, 978-0-252-08578-9 $22.95 £17.99
CARA A. FINNEGAN is a professor of communication at the University of Illinois at Urbana-Champaign. She is the author of Making Photography Matter: A Viewer’s History from the Civil War to the Great Depression and Picturing Poverty: Print Culture and FSA Photographs.
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E-BOOK, 978-0-252-05269-9 All rights: University of Illinois
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SPORTS / MEDIA STUDIES
FIGHTING VISIBILITY
Sports Media and Female Athletes in the UFC
JENNIFER MCCLEAREN Ultimate Fighting Championship and the present and future of women’s sports “A scathing critique of the exploitation that defines the relationship of the UFC to its women fighters, Fighting Visibility fills a hole in the study of sports. Never has this subject been explored with the depth and clarity that we have here. A necessary and groundbreaking read. It makes the point with crystal clarity: visibility and equity are not the same thing.” —DAVE ZIRIN, sports editor, The Nation Mixed-martial arts stars like Amanda Nunes, Zhang Weili, and Ronda Rousey have made female athletes top draws in the Ultimate Fighting Championship (UFC). Jennifer McClearen charts how the promotion incorporates women into its far-flung media ventures, and then she investigates the complexities surrounding female inclusion. On the one hand, the undeniable popularity of cards headlined by women add much-needed diversity to the sporting landscape. On the other, the UFC leverages an illusion of promoting difference—whether gender, racial, ethnic, or sexual—to grow its empire with an inexpensive and expendable pool of female fighters. McClearen illuminates how the UFC’s half-hearted efforts at representation generate profit and cultural cachet while covering up the fact it exploits women of color, lesbians, gender non-conforming women, and others.
MARCH 2021 232 PAGES. 6 X 9 INCHES 12 COLOR PHOTOGRAPHS, 22 BLACK & WHITE PHOTOGRAPHS, 2 TABLES
HARDCOVER, 978-0-252-04373-4 $110.00x £88.00 PAPER, 978-0-252-08572-7 $24.95s £18.99
Thought provoking and timely, Fighting Visibility tells the story of how a sports entertainment phenomenon made difference a part of its brand—and the ways women paid the price for success.
E-BOOK, 978-0-252-05263-7 A volume in the series Studies in Sports Media, edited by Victoria E. Johnson and Travis Vogan
JENNIFER MCCLEAREN is an assistant professor in the Department of Radio-Television-Film at the University of Texas at Austin.
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FILM / PHILOSOPHY
VISUAL ALTERITY
Seeing Difference in Cinema
RANDALL HALLE Reconsidering the dynamics of perception “Visual Alterity offers a theoretically sophisticated and incisive analysis of seeing, apprehending difference and moving image technology that challenges long-established assumptions. Kaleidoscopic in scope and deft in argument, Randall Halle’s pathbreaking book makes an important contribution to the fields of visual and alterity studies.” —DANIELA BERGHAHN, author of Far-Flung Families in Film: The Diasporic Family in Contemporary European Cinema Using cinema to explore the visual aspects of alterity, Randall Halle analyzes how we become cognizant of each other and how we perceive and judge another person in a visual field. Halle draws on insights from philosophy and recent developments in cognitive and neuroscience to argue that there is no pure “natural” sight. We always see in a particular way, from a particular vantage point, and through a specific apparatus, and Halle shows how human beings have used cinema to experiment with the apparatus of seeing for over a century. Visual alterity goes beyond seeing difference to being conscious of how one sees difference. Investigating the process allows us to move from mere perception to apperception, or conscious perception.
MARCH 2021 280 PAGES. 6 X 9 INCHES 15 COLOR PHOTOGRAPHS, 9 BLACK & WHITE PHOTOGRAPHS, 2 CHARTS
HARDCOVER, 978-0-252-04370-3 $110.00x £88.00
Innovative and insightful, Visual Alterity merges film theory with philosophy and cutting-edge science to propose new ways of perceiving and knowing.
PAPER, 978-0-252-08568-0 $30.00x £22.99
RANDALL HALLE is the Director of the Film and Media Studies Program and the Klaus W. Jonas Professor of German Film and Cultural Studies at the University of Pittsburgh. His books include The Europeanization of Cinema: Interzones and Imaginative Communities and Queer Social Philosophy: Critical Readings from Kant to Adorno.
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FILM / WOMEN AND GENDER STUDIES
MOVIE WORKERS
The Women Who Made British Cinema
MELANIE BELL Rolling the credits on six decades of women in film “Melanie Bell describes Movie Workers as a history that aims to ‘disrupt the present’ and she has done just that. Marshalling a rich array of evidence from trade union records, oral histories, and contemporaneous sources, Bell uncovers the essential work that women have performed at all levels of the British film industry for decades—work rendered invisible in traditional histories which have for too long glorified film directors as solitary creative geniuses and stubbornly refused to recognize feminized labor as labor.” —SHELLEY STAMP, author of Lois Weber in Early Hollywood JUNE 2021
After the advent of sound, women in the British film industry formed an essential corps of below-the-line workers, laboring in positions from animation artist to negative cutter to costume designer. Melanie Bell maps the work of these women decade-by-decade, examining their far-ranging economic and creative contributions against the backdrop of the discrimination that constrained their careers. Her use of oral histories and trade union records presents a vivid counter-narrative to film history, one that focuses not only on women in a male-dominated business, but on the innumerable types of physical and emotional labor required to make a motion picture. Bell’s feminist analysis looks at women’s jobs in film at important historical junctures while situating the work in the context of changing expectations around women and gender roles.
288 PAGES. 6 X 9 INCHES 19 BLACK & WHITE PHOTOGRAPHS, 12 CHARTS
HARDCOVER, 978-0-252-04387-1 $110.00x £88.00 PAPER, 978-0-252-08586-4 $28.00x £20.99 E-BOOK, 978-0-252-05277-4 A volume in the series Women and Film History International, edited by Kay Armatage, Jane M. Gaines, and Christine Gledhill
Illuminating and astute, Movie Workers is a first-of-its-kind examination of the unsung women whose invisible work brought British filmmaking to the screen. MELANIE BELL is an associate professor of film and media at the University of Leeds. Her books include Julie Christie: Stardom and Cultural Production and Femininity in Frame: Women and 1950s British Popular Cinema.
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FILM
I DIED A MILLION TIMES
Gangster Noir in Midcentury America
ROBERT MIKLITSCH The mob bosses, rogue cops, and heist gangs of a film era “Alert to the aesthetic, political, industrial, and historical provocations and subversions of ‘gangster noir,’ I Died a Million Times provides an excellent overview and analysis of this subgenre and reminds us of film noir’s rich hybridity. Full of truly superb readings of well-known and less familiar classic noir films, Robert Miklitsch’s book, written with striking verve, will engage, delight, and inform scholars and movie fans.” —JULIE GROSSMAN, coauthor of Ida Lupino, Director: Her Art and Resilience in Times of Transition In the 1950s, the gangster movie and film noir crisscrossed to create gangster noir. Robert Miklitsch takes readers into this fascinating subgenre of films focused on crime syndicates, crooked cops, and capers.
JANUARY 304 PAGES. 6.125 X 9.25 INCHES 40 BLACK & WHITE PHOTOGRAPHS
With the Senate’s organized crime hearings and the brighter-than-bright myth of the American Dream as a backdrop, Miklitsch examines the style and history, and the production and cultural politics, of classic pictures from The Big Heat and The Asphalt Jungle to lesser-known gems like 711 Ocean Drive and post-Fifties movies like Ocean’s Eleven. Miklitsch pays particular attention to trademark leitmotifs including the individual versus the collective; the family as a locus of dissension and rapport; the real-world roots of the heist picture; and the syndicate as an octopus with its tentacles deep into law enforcement, corporate America, and government. If the memes of gangster noir remain prototypically dark, the look of the films becomes lighter and flatter, reflecting the influence of television and the realization that, under the cover of respectability, crime had moved from the underworld into the mainstream of contemporary everyday life.
HARDCOVER, 978-0-252-04361-1 $125.00x £100.00 PAPER, 978-0-252-08554-3 $27.95s £20.99 E-BOOK, 978-0-252-05249-1 All rights: University of Illinois
ROBERT MIKLITSCH is a professor in the Department of English Language and Literature at Ohio University. He is the editor of Kiss the Blood Off My Hands: On Classic Film Noir and the author of The Red and the Black: American Film Noir in the 1950s.
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FILM / RADICAL STUDIES
FILM AND THE ANARCHIST IMAGINATION
Expanded Second Edition
RICHARD PORTON Anarchism’s images, ideas, and influence in cinema “In this updated version of his original classic, Richard Porton traces the evolution of anarchist ideas and their influence on cinematic form and content, exploring a wide range of expressive work designed to provoke, inspire, and confound. A welcome and compelling celebration of a subversive and still-evolving genre.” —ASTRA TAYLOR, author of The People’s Platform: Taking Back Power and Culture in the Digital Age Hailed since its initial release, Film and the Anarchist Imagination offers the authoritative account of films featuring anarchist characters and motifs. Richard Porton delves into the many ways filmmakers have portrayed anarchism’s long traditions of labor agitation and revolutionary struggle. While acknowledging cinema’s predilection for ludicrous anarchist stereotypes, he focuses on films that, wittingly or otherwise, reflect or even promote workplace resistance, anarchist pedagogy, self-emancipation, and anti-statist insurrection. Porton ranges from the silent era to the classics Zéro de Conduite and Love and Anarchy to contemporary films like The Nothing Factory while engaging the works of Jean Vigo, Jean-Luc Godard, Lina Wertmüller, Yvonne Rainer, Ken Loach, and others. For this updated second edition, Porton reflects on several new topics, including the negative p ortrayals of anarchism over the past twenty years and the contemporary embrace of post-anarchism.
OCTOBER 352 PAGES. 6.125 X 9.25 INCHES
HARDCOVER, 978-0-252-04333-8 $125.00x £100.00 PAPER, 978-0-252-08524-6 $27.95s £20.99 E-BOOK, 978-0-252-05221-7 All rights: University of Illinois
RICHARD PORTON is an editor at Cineaste and has taught film studies at the College of Staten Island, Hunter College, Rutgers University, and New York University.
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COMMUNICATIONS / ASIAN STUDIES
TELEVISION AND THE AFGHAN CULTURE WARS
Brought to You by Foreigners, Warlords, and Activists
WAZHMAH OSMAN Analyzing television’s place in today’s Afghanistan “This critical work foregrounds the geopolitical context that leads to a television ‘boom,’ highlighting the important role of women and ethnic minority communities in Afghani media production and consumption. Television and Afghan Culture Wars is a must read for scholars and students of global media and American empire.” —PAULA CHAKRAVARTTY, coeditor of Race, Empire, and the Crisis of the Subprime DECEMBER
Portrayed in Western discourse as tribal and traditional, Afghans have in fact intensely debated women’s rights, democracy, modernity, and Islam as part of their nation building in the post-9/11 era. Wazhmah Osman places television at the heart of these public and politically charged clashes while revealing how the medium also provides war-weary Afghans with a semblance of open discussion and healing. After four decades of gender and sectarian violence, she argues, the internationally funded media sector has the potential to bring about justice, national integration, and peace.
208 PAGES. 6 X 9 INCHES 49 BLACK & WHITE PHOTOGRAPHS, 6 CHARTS, 4 TABLES
HARDCOVER, 978-0-252-04355-0 $110.00x £88.00 PAPER, 978-0-252-08545-1 $28.00x £20.99
Fieldwork from across Afghanistan allowed Osman to record the voices of Afghan media producers and people from all sectors of society. In this moving work, Afghans offer their own seldom-heard views on the country’s cultural progress and belief systems, their understandings of themselves, and the role of international interventions. Osman looks at the national and transnational impact of media companies like Tolo TV, Radio Television Afghanistan, and foreign media giants and funders like the British Broadcasting Corporation and USAID. By focusing on local cultural contestations, productions, and social movements, Television and the Afghan Culture Wars redirects the global dialogue about Afghanistan to Afghans and thereby challenges top-down narratives of humanitarian development.
E-BOOK, 978-0-252-05243-9 A volume in the series The Geopolitics of Information, edited by Dan Schiller, Pradip Thomas, and Yuezhi Zhao All rights: University of Illinois
WAZHMAH OSMAN is a filmmaker and assistant professor in the Klein College of Media and Communication at Temple University. She is the codirector of the critically acclaimed documentary Postcards from Tora Bora and the coauthor of Afghanistan: A Very Short Introduction.
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WOMEN, GENDER, AND SEXUALITY STUDIES / EDUCATION
DEGREES OF DIFFERENCE
Reflections of Women of Color on Graduate School
Edited by KIMBERLY D. McKEE and DENISE A. DELGADO Foreword by Karen J. Leong A go-to resource for helping women of color survive, and thrive, in grad school “The personal and the political are addressed in this multi faceted collection, which is a blanket of resources for graduate students and tenure-track academics, as well as for seasoned and tenured committee members, serving on university rank and tenure committees. Bravas! This is a great addition to a collection of groundbreaking literature in this area.” —GABRIELLA GUTIÉRREZ Y MUHS, editor of Presumed Incompetent: The Intersections of Race and Class for Women in Academia
MAY 232 PAGES 6 X 9 INCHES
University commitments to diversity and inclusivity have yet to translate into support for women of color graduate students. Sexism, classism, homophobia, racial microaggressions, alienation, disillusionment, a lack of institutional and departmental support, limited help from family and partners, imposter syndrome, narrow reading lists—all remain commonplace. Indifference to the struggles of women of color in graduate school and widespread dismissal of their work further poison an atmosphere that suffocates not only ambition but a person’s quality of life.
HARDCOVER, 978-0-252-04318-5 $110.00x £91.00 PAPER, 978-0-252-08505-5 $19.95s £15.99 E-BOOK, 978-0-252-05206-4
In Degrees of Difference, women of color from diverse backgrounds give frank, unapologetic accounts of their battles—both internal and external—to navigate grad school and fulfill their ambitions. At the same time, the authors offer strategies for surviving the grind via stories of their own hard-won successes with self-care, building supportive communities, finding like-minded mentors, and resisting racism and unsupportive faculty and colleagues.
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Contributors: Aeriel A. Ashlee, Denise A. Delgado, Nwadiogo I. Ejiogu, Delia Fernández, Regina Emily Idoate, Karen J. Leong, Kimberly D. McKee, Délice Mugabo, Carrie Sampson, Arianna Taboada, Jenny Heijun Wills, and Soha Youssef KIMBERLY D. MCKEE is an associate professor in the Integrative, Religious, and Intercultural Studies Department at Grand Valley State University and the author of Disrupting Kinship: Transnational Politics of Korean Adoption in the United States. DENISE A. DELGADO received her Ph.D. from the Ohio State University and works as an analyst and trainer.
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WOMEN, GENDER, AND SEXUALITY STUDIES / MEDIA STUDIES
FASHIONING POSTFEMINISM
Spectacular Femininity and Transnational Culture
SIMIDELE DOSEKUN The serious business of being spectacular in Nigeria and the Global South “This book brilliantly challenges the assumption of whiteness and the Western location of the postfeminist female subject, documenting how postfeminism circulates well beyond the Global North. Dosekun demonstrates a rare sensitivity to place and to the specific norms circulating that space, which, as she underscores, shape the way in which postfeminism is taken up. The arguments are forceful, and the empirical material is handled with great care, sensitivity, and insight.” —CATHERINE ROTTENBERG, author of The Rise of Neoliberal Feminism
JUNE 216 PAGES 6 X 9 INCHES
Women in Lagos, Nigeria, practice a spectacularly feminine form of black beauty. From cascading hair extensions to immaculate makeup to high heels, their style permeates both day-to-day life and media representations of women not only in a swatch of Africa but across an increasingly globalized world.
HARDCOVER, 978-0-252-04321-5 $110.00x £91.00
Simidele Dosekun’s interviews and critical analysis consider the female subjectivities these women are performing and desiring. She finds that the women embody the postfeminist idea that their unapologetically immaculate beauty signals—but also constitutes—feminine power. As empowered global consumers and media citizens, the women deny any need to critique their culture or to take part in feminism’s collective political struggle. Throughout, Dosekun unearths evocative details around the practical challenges to attaining their style, examines the gap between how others view these women and how they view themselves, and engages with ideas about postfeminist self-fashioning and subjectivity across cultures and class.
PAPER, 978-0-252-08508-6 $26.00x £20.99 E-BOOK, 978-0-252-05209-5 A volume in the series Dissident Feminisms, edited by Elora Halim Chowdhury All rights: University of Illinois
Intellectually provocative and rich with theory, Fashioning Postfeminism reveals why women choose to live, embody, and even suffer for a fascinating performative culture. SIMIDELE DOSEKUN is an assistant professor in media and communications at the London School of Economics and Political Science.
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WOMEN, GENDER, AND SEXUALITY STUDIES / BLACK STUDIES
IMAGINING THE MULATTA
Blackness in U.S. and Brazilian Media
JASMINE MITCHELL Mixed-race women and popular culture in Brazil and the United States “An important and very readable work on the comparative histories and visual cultural formations of race and mixed race in Brazil and the United States.” —CAMILLA FOJAS, author of Zombies, Migrants, and Queers: Race and Crisis Capitalism in Pop Culture Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixedrace women of African and European descent, the two countries claim to have perfected racial representation—all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates.
MAY 288 PAGES 6 X 9 INCHES 9 COLOR PHOTOGRAPHS
Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and US popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an “acceptable” version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire.
HARDCOVER, 978-0-252-04328-4 $110.00x £91.00 PAPER, 978-0-252-08520-8 $26.00x £20.99 E-BOOK, 978-0-252-05216-3
JASMINE MITCHELL is an assistant professor of American studies and media and communication at SUNY Old Westbury.
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FILM
WERNER HERZOG JOSHUA LUND New World politics and history with cinema’s charismatic renegade “From the fascinating films of Werner Herzog, Joshua Lund crafts a striking book that sheds light on the political significance of a range of aesthetic issues. Behind Herzog’s films stands the ghost of America, confronting us with the tragic powerlessness of her heroes and meditating on the historical failure of her cultural-economic model. We have never seen Herzog’s films with greater clarity.” —LUC VANCHERI, author of Psycho: La leçon d’iconologie d’Alfred Hitchcock Werner Herzog’s protean imagination has produced a filmography that is nothing less than a sustained meditation on the modern human condition. Though Herzog takes his topics from around the world, the Americas have provided the setting and subject matter for iconic works ranging from Aguirre, the Wrath of God and Fitzcarraldo to Grizzly Man.
JULY 264 PAGES 5.5 X 8.25 INCHES 26 BLACK & WHITE PHOTOGRAPHS
Joshua Lund offers the first systematic interpretation of Werner Herzog’s Americas-themed works, illuminating the director’s career as a political film maker—a label Herzog himself rejects. Lund draws on materialist and post-colonial approaches to argue that Herzog’s American work confronts us with the circulation, distribution, accumulation, application, and negotiation of power that resides, quietly, at the center of his films. By operating beyond conventional ideological categories, Herzog renders political ideas in radically unfamiliar ways while fearlessly confronting his viewers with questions of world-historical significance. His maddeningly opaque viewpoint challenges us to rethink discovery and conquest, migration and exploitation, resource extraction, slavery, and other foundational traumas of the contemporary human condition.
HARDCOVER, 978-0-252-04317-8 $110.00x £91.00 PAPER, 978-0-252-08504-8 $22.00s £17.99 E-BOOK, 978-0-252-05205-7 A volume in the series Contemporary Film Directors, edited by Justus Nieland and Jennifer Fay
JOSHUA LUND is a professor of Spanish at the University of Notre Dame. He is the author of The Mestizo State: Reading Race in Modern Mexico and The Impure Imagination: Toward a Critical Hybridity in Latin American Writing.
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UNRULY CINEMA
History, Politics, and Bollywood
RINI BHATTACHARYA MEHTA A course-ready study of the crises that shaped Indian film “A rigorous and monumental historical study of Bombayproduced Hindi cinema, which addresses the paradoxes of Bollywood’s histories in highly engaging as well as truly enlightening ways. This is an essential study of Indian popular cinema and its indomitability.” —CATHERINE GRANT, coauthor of The Videographic Essay: Criticism in Sound and Image Between 1931 and 2000, India’s popular cinema steadily overcame Hollywood domination. Bollywood, the film industry centered in Mumbai, became nothing less than a global cultural juggernaut. But Bollywood is merely one part of the country’s prolific, multilingual cinema. Unruly Cinema looks at the complex series of events that allowed the entire Indian film industry to defy attempts to control, reform, and refine it in the twentieth century and beyond.
JUNE 232 PAGES 6 X 9 INCHES
Rini Bhattacharya Mehta considers four aspects of Indian cinema’s complicated history. She begins with the industry’s surprising, market-driven triumph over imports from Hollywood and elsewhere in the 1930s. From there she explores how the nationalist social melodrama outwitted the government with its 1950s cinematic lyrical manifestoes. In the 1970s, an action cinema centered on the angry young male co-opted the voice of the oppressed. Finally, Mehta examines Indian film’s discovery of the global neoliberal aesthetic that encouraged the emergence of Bollywood.
HARDCOVER, 978-0-252-04312-3 $110.00x £91.00 PAPER, 978-0-252-08499-7 $25.00x £19.99 E-BOOK, 978-0-252-05200-2 All rights: University of Illinois
RINI BHATTACHARYA MEHTA is an assistant professor of comparative and world literature at the University of Illinois at Urbana-Champaign. She is a coeditor of Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora.
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FILM / MUSIC
VOICING THE CINEMA
Film Music and the Integrated Soundtrack
Edited by JAMES BUHLER and HANNAH LEWIS Daring new ideas on what we hear at the movies “Including works by many of film music’s finest scholars, the diversity of articles and approaches here is most welcome. Some pieces will prove to be real game-changers, beautifully written and argued.” —CARYL FLINN, author of Brass Diva: The Life and Legends of Ethel Merman Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator’s experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music’s most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack.
MARCH
The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman’s films, Eighties teen films, and girls’ voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism.
352 PAGES 6.125 X 9.25 INCHES 66 BLACK & WHITE PHOTOGRAPHS, 12 MUSIC EXAMPLES, 6 TABLES
HARDCOVER, 978-0-252-04300-0 $125.00x £103.00 PAPER, 978-0-252-08486-7 $30.00x £23.99
JAMES BUHLER is a professor of music theory at the University of Texas at Austin. He is the author of Theories of the Soundtrack and a coauthor of Hearing the Movies: Music and Sound in Film History. HANNAH LEWIS is an assistant professor of musicology at the University of Texas at Austin. She is the author of French Musical Culture and the Coming of Sound Cinema.
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E-BOOK, 978-0-252-05186-9 Publication of this book was supported in part by a grant from Furthermore: a program of the J. M. Kaplan Fund. All rights: University of Illinois
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COMMUNICATIONS
GRAPHIC NEWS
How Sensational Images Transformed Nineteenth-Century Journalism
AMANDA FRISKEN Pictures, profits, and peril in the yellow journalism era “A deeply researched and acutely observed social and cultural history of journalism that, with particular attention to popular visual media, delineates the ways publications’ reportorial conventions and practices shaped and were shaped by the era’s gender, race, and class relations.” —JOSHUA BROWN, author of Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America “You furnish the pictures and I’ll furnish the war.” This famous but apocryphal quote, long attributed to newspaper magnate William Randolph Hearst, encapsulates fears of the lengths to which news companies would go to exploit visual journalism in the late nineteenth century. From 1870 to 1900, newspapers disrupted conventional reporting methods with sensationalized line drawings. A fierce hunger for profits motivated the shift to emotion-driven, visual content. But the new approach, while popular, often targeted, and further marginalized, vulnerable groups.
MARCH 328 PAGES 6.125 X 9.25 INCHES 116 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04298-0 $125.00 £103.00
Amanda Frisken examines the ways sensational images of pivotal cultural events— obscenity litigation, anti-Chinese bloodshed, the Ghost Dance, lynching, and domestic violence—changed the public’s consumption of the news. Using intersectional analysis, Frisken explores how these newfound visualizations of events during episodes of social and political controversy allowed newspapers and social activists alike to communicate—or challenge—prevailing understandings of racial, class, and gender identities and cultural power.
PAPER, 978-0-252-08483-6 $28.00x £21.99 E-BOOK, 978-0-252-05183-8 A volume in the series The History of Communication, edited by Robert W. McChesney and John C. Nerone
AMANDA FRISKEN is a professor of American Studies at SUNY College at Old Westbury. She is the author of Victoria Woodhull’s Sexual Revolution: Political Theater and the Popular Press in Nineteenth-Century America.
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23
ON TREND
The Business of Forecasting the Future
DEVON POWERS Prophets churning profits in the mysterious world of trend professionals “On Trend is wide-ranging, yet it holds together through a fusion of scholarly reconstruction and engaged critique. Such a combination is often intended but seldom so well executed.” —SCOTT MCLEMEE, Inside Higher Ed
“If you think hot trends just whirl up like dust storms, think again: This fascinating book pulls the curtain back on an entire industry devoted to shaping our perceptions of what matters—and with it, the future itself.” —FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties
232 PAGES. 6 X 9 INCHES 2 BLACK & WHITE PHOTOGRAPHS, 1 TABLE, 1 LINE DRAWING
Trends have become a commodity—an element of culture in their own right and the very currency of our cultural life. Consumer culture relies on a new class of professionals who explain trends, predict trends, and, in profound ways, even manufacture trends.
HARDCOVER, 978-0-252-04287-4 $99.00x £79.00 PAPER, 978-0-252-08469-0 $19.95 £14.99
On Trend delves into one of the most powerful forces in global consumer culture. From forecasting to cool hunting to design thinking, the work done by trend professionals influences how we live, work, play, shop, and learn. Devon Powers’s provocative insights open up how the business of the future kindles exciting opportunity even as its practices raise questions about an economy increasingly built on nonstop disruption and innovation. Merging industry history with vivid portraits of today’s trend visionaries, Powers reveals how trends took over, what it means for cultural change, and the price all of us pay to see—and live—the future.
E-BOOK, 978-0-252-05173-9 All rights: University of Illinois
DEVON POWERS is an associate professor of advertising at Temple University. She is the author of Writing the Record: The Village Voice and the Birth of Rock Criticism and coeditor of Blowing Up the Brand: Critical Perspectives on Promotional Culture.
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LUCRECIA MARTEL GERD GEMÜNDEN A poetics of the senses “Journalists discovered Lucrecia Martel with her last film, but scholars like Gerd Gemünden were already paying attention to her extraordinary body of work. Now, Gemünden analyzes the complexities of the Martel universe with a combination of cinematic precision and historical knowledge, unpacking her references and delineating her acute specificity of place. A welcome volume and likely an instant classic.” —B. RUBY RICH, editor, Film Quarterly Films like Zama and The Headless Woman have made Lucrecia Martel a fixture on festival marquees and critics’ best lists. Though often allied with mainstream figures and genre frameworks, Martel works within art cinema, and since her 2001 debut The Swamp, she has become one of international film’s most acclaimed auteurs.
206 PAGES. 5.5 X 8.25 INCHES 30 BLACK & WHITE PHOTOGRAPHS
Gerd Gemünden offers a career-spanning analysis of a filmmaker dedicated to revealing the ephemeral, fortuitous, and endless variety of human experience. Martel’s focus on sound, touch, taste, and smell challenge film’s usual emphasis on what a viewer sees. By merging these and other experimental techniques with heightened realism, she invites audiences into film narratives at once unresolved, truncated, and elliptical. Gemünden aligns Martel’s filmmaking methods with the work of other international directors who criticize—and pointedly circumvent— the high-velocity speeds of today’s cinematic storytelling. He also explores how Martel’s radical political critique forces viewers to rethink entitlement, race, class, and exploitation of indigenous peoples within Argentine society and beyond.
HARDCOVER, 978-0-252-04283-6 $99.00x £79.00 PAPER, 978-0-252-08466-9 $22.00s £16.99 E-BOOK, 978-0-252-05169-2 A volume in the series Contemporary Film Directors, edited by Justus Nieland and Jennifer Fay
GERD GEMÜNDEN is a professor of German studies, film and media studies, and comparative literature at Dartmouth College. His books include Continental Strangers: German Exile Filmmakers in Hollywood, 1933–1950 and A Foreign Affair: Billy Wilder’s American Films.
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TODD SOLONDZ JULIAN MURPHET Black humor and red ink in the career of the independent filmmaker “Murphet’s achievement is to show unequivocally that this world, a deracinated junk space filled with pedophiles and perverts, is our own. This book will be an indispensable guide to all of us that wonder about the hideously kitsch and just plain hideous aesthetic that has evolved over the duration of Solondz’s career, and perhaps why it all feels so nauseatingly familiar.” —MARK STEVEN, author of Splatter Capital: A Guide for Surviving the Horror Movie We Collectively Inhabit Films like Welcome to the Dollhouse and Happiness established Todd Solondz as independent cinema’s premier satirist. Blending a trademark black humor into atmospheres of grueling bleakness, Solondz repeatedly takes moviegoers into a bland suburban junk space peopled by the damaged, the neglected, and the depraved.
192 PAGES. 5.5 X 8.25 INCHES 18 BLACK & WHITE PHOTOGRAPHS, 6 CHARTS, 2 TABLES
Julian Murphet appraises the career of the controversial, if increasingly ignored, indie film auteur. Through close readings and a discussion with the director, Murphet dissects how Solondz’s themes and techniques serve stories laden with hot-button topics like pedophilia, rape, and family and systemic cruelty. Solondz’s uncompromising return to the same motifs, stylistic choices, and characters rejects any idea of aesthetic progression. Instead, he embraces an art of diminishing returns that satirizes the laws of valuation sustaining what we call cinema. It also reflects both Solondz’s declining box office fortunes and the changing economics of independent film in an era of financial contraction.
HARDCOVER, 978-0-252-04276-8 $99.00x £79.00 PAPER, 978-0-252-08459-1 $22.00s £16.99 E-BOOK, 978-0-252-05162-3 A volume in the series Contemporary Film Directors, edited by Justus Nieland and Jennifer Fay
JULIAN MURPHET is Scientia Professor in film and literature in the School of the Arts and Media at the University of New South Wales. His books include Faulkner’s Media Romance and Multimedia Modernism: Literature and the Anglo-American Avant-garde.
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JOSEPHINE BAKER AND KATHERINE DUNHAM
Dances in Literature and Cinema
HANNAH DURKIN Two great artists creating new visions of black womanhood “Josephine Baker and Katherine Dunham is a tour-de-force brilliantly analyzing the cinematic depictions in a black Atlantic context. The full implications of the European depictions of these wonderful dancers is teased out through exhaustive attention to dancing techniques, cinematography, and the two women’s autobiographical writings. A must-read for all scholars of African American performance and cultural politics.” —ALAN RICE, author of Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic 272 PAGES. 6 X 9 INCHES 20 BLACK & WHITE PHOTOGRAPHS
Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature.
HARDCOVER, 978-0-252-04262-1 $99.00x £79.00 PAPER, 978-0-252-08445-4 $27.95s £20.99
Hannah Durkin investigates Baker’s and Dunham’s films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imagining—within significant confines— new aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women’s identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker’s and Dunham’s places in cinematic and literary history.
E-BOOK, 978-0-252-05146-3 All rights: University of Illinois
HANNAH DURKIN is a lecturer in literature and film at Newcastle University. She is a coeditor of Visualising Slavery: Art Across the African Diaspora.
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BLACK CULTURAL PRODUCTION AFTER CIVIL RIGHTS Edited by ROBERT J. PATTERSON The artistic response to triumph and ongoing struggle in the 1970s “As Black artists and activists mounted calls to liberation in the 1970s, they also faced a mushrooming carceral industry, white supremacist violence, and the rise of neoliberalism. This urgent and refreshing text returns our attention to that volatile decade and to the ways cultural production provided the vital means for engaging with and reimagining the world.” —ERICA R. EDWARDS, author of Charisma and the Fictions of Black Leadership 280 PAGES. 6 X 9 INCHES 30 BLACK & WHITE PHOTOGRAPHS
The post-civil rights era of the 1970s offered African Americans an all-too-familiar paradox. Material and symbolic gains contended with setbacks fueled by resentment and reaction. African American artists responded with black approaches to expression that made history in their own time and continue to exercise an enormous influence on contemporary culture and politics.
HARDCOVER, 978-0-252-04277-5 $99.00x £79.00 PAPER, 978-0-252-08460-7 $26.00x £19.99
This collection’s fascinating spectrum of topics begins with the literary and cinematic representations of slavery from the 1970s to the present. Other authors delve into visual culture from Blaxploitation to the art of Betye Saar to stage works like A Movie Star Has to Star in Black and White as well as groundbreaking literary works like Corregidora and Captain Blackman. A pair of concluding essays concentrate on institutional change by looking at the Seventies surge of black publishing and by analyzing Ntozake Shange’s for colored girls. . . in the context of current controversies surrounding sexual violence. Throughout, the writers reveal how Seventies black cultural production anchors important contemporary debates in black feminism and other issues while spurring the black imagination to thrive amidst abject social and political conditions.
E-BOOK, 978-0-252-05163-0 All rights: University of Illinois
Contributors: Courtney R. Baker, Soyica Diggs Colbert, Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa, Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa Woolfork ROBERT J. PATTERSON is a professor of African American Studies and served as the inaugural chair of the Department of African American Studies at Georgetown University. He is the author of Destructive Desires: Rhythm and Blues Culture and the Politics of Racial Equality.
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CINEMATIC ENCOUNTERS 2 Portraits and Polemics
JONATHAN ROSENBAUM The importance of fighting for, and about, films “An excellent collection. Highly recommended.” —CHOICE
“Challenging, probing, and illuminating, Jonathan Rosenbaum’s work is a beacon for other cinephiles. His new collection shows him engaging with an exhilaratingly wide range of films and filmmakers throughout the world and causing us to think about them in fresh ways.” —JOSEPH MCBRIDE, author of How Did Lubitsch Do It? Eschewing the idea of film reviewer-as-solitary-expert, Jonathan Rosenbaum continues to advance his belief that a critic’s ideal role is to mediate and facilitate our public discussion of cinema. Portraits and Polemics presents debate as an important form of cinematic encounter whether one argues with filmmakers themselves, on behalf of their work, or with one’s self.
320 PAGES. 6 X 9 INCHES
HARDCOVER, 978-0-252-04255-3 $110.00x £88.00
Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Béla Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael—and Wikipedia—over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch’s The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray.
PAPER, 978-0-252-08438-6 $24.95 £18.99 E-BOOK, 978-0-252-05139-5 All rights: University of Illinois
JONATHAN ROSENBAUM was the film critic for the Chicago Reader from 1987 to 2008. He is the coauthor of Abbas Kiarostami, Expanded Second Edition and the author of Cinematic Encounters: Interviews and Dialogues and Goodbye Cinema, Hello Cinephilia. He archives his work at jonathanrosenbaum.net.
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CINEMATIC ENCOUNTERS
Interviews and Dialogues
JONATHAN ROSENBAUM The lively art of conversation with auteurs from Welles to Jarmusch “Given the power and voraciousness of his mind, Jonathan Rosenbaum could dominate and devour everything in his path if he wanted to, like the bullying movies he abhors. But with his openness of spirit, he prefers films that let you question and participate. Those are also his activities in Cinematic Encounters, as he converses with great and good filmmakers he admires and swaps ideas and enthusiasms with his cinephile friends. Open the book, and you, too, are welcome to join in.” —STUART KLAWANS, film critic, The Nation Godard. Fuller. Rivette. Endfield. Tarr. In his celebrated career as a film critic, Jonathan Rosenbaum has undertaken wide-ranging dialogues with many of the most daring and important auteurs of our time.
296 PAGES. 6 X 9 INCHES
HARDCOVER, 978-0-252-04216-4 $99.00x £82.00
Cinematic Encounters collects more than forty years of interviews that embrace Rosenbaum’s vision of film criticism as a collaboration involving multiple voices. Rosenbaum accompanies Orson Welles on a journey back to Heart of Darkness, the unmade film meant to be Welles’s Hollywood debut. Jacques Tati addresses the primacy of décor and soundtrack in his comedic masterpiece PlayTime, while Jim Jarmusch explains the influence of real and Hollywoodized Native Americans in Dead Man. By arranging the chapters chronologically, Rosenbaum invites readers to pursue thematic threads as if the discussions were dialogues between separate interviews. The result is a rare gathering of filmmakers trading thoughts on art and process, on great works and false starts, and on actors and intimate moments.
PAPER, 978-0-252-08388-4 $24.95 £20.99 E-BOOK, 978-0-252-05090-9 All rights: University of Illinois
JONATHAN ROSENBAUM was the film critic for the Chicago Reader from 1987 to 2008. He is the coauthor of Abbas Kiarostami: Expanded Second Edition and the author of Goodbye Cinema, Hello Cinephilia and Discovering Orson Welles. He archives his work at jonathanrosenbaum.net.
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HOMELAND MATERNITY
US Security Culture and the New Reproductive Regime
NATALIE FIXMER-ORAIZ Motherhood and motherland in contemporary America “This book is devastatingly good. Good because it is elegantly written, tightly argued, and theoretically informed and informative. Devastating because it makes clear that a nasty thicket of laws, institutions, and rhetoric values pregnancy (even a potential pregnancy) more than the integrity, safety, and humanity of women, pregnant people, and mothers.” —ARGUMENTATION AND ADVOCACY
“Decidedly grounded in an ethic of reproductive justice and its bringing together of ‘feminist studies of maternal and reproductive politics and critical scholarship on homeland security culture,’ (3–4) Homeland Maternity provides a necessary and nuanced framework for naming and understanding complex, urgent events around reproductive politics today.” —IZG ONZEIT In US security culture, motherhood is a site of intense contestation—both a powerful form of cultural currency and a target of unprecedented assault. Linked by an atmosphere of crisis and perceived vulnerability, motherhood and nation have become intimately entwined, dangerously positioning national security as reliant on the control of women’s bodies.
276 PAGES. 6 X 9 INCHES
HARDCOVER, 978-0-252-04235-5 $99.00x £79.00 PAPER, 978-0-252-08414-0 $24.95s £18.99
Drawing on feminist scholarship and critical studies of security culture, Natalie Fixmer-Oraiz explores homeland maternity by calling our attention to the ways that authorities see both nonreproductive and “overly” reproductive women’s bodies as threats to social norms—and thus to security. Homeland maternity culture intensifies motherhood’s requirements and works to discipline those who refuse to adhere. Analyzing the opt-out revolution, public debates over emergency contraception, and other controversies, Fixmer-Oraiz compellingly demonstrates how policing maternal bodies serves the political function of securing the nation in a time of supposed danger—with profound and troubling implications for women’s lives and agency.
E-BOOK, 978-0-252-05119-7 A volume in the series Feminist Media Studies, edited by Carol Stabile All rights: University of Illinois
NATALIE FIXMER-ORAIZ is an assistant professor of communication at the University of Iowa.
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SUBJECT TO REALITY
Women and Documentary Film
SHILYH WARREN Women’s documentaries in film and feminist history “A uniquely accessible book for experts, in the fields of documentary history or feminist film theory, and new comers alike.” —FILM QUARTERLY
“In re-examining the history of women in documentary, Warren has clearly shown how women’s early anthropologically inflected films resonate powerfully with the present.” —DOCUMENTARY MAGAZINE Revolutionary thinking around gender and race merged with new film technologies to usher in a wave of women’s documentaries in the 1970s. Driven by the various promises of second-wave feminism, activist filmmakers believed authentic stories about women would bring more people into an imminent revolution. Yet their films soon faded into obscurity.
200 PAGES. 6 X 9 INCHES 17 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04253-9 $99.00x £79.00
Shilyh Warren reopens this understudied period and links it to a neglected era of women’s filmmaking that took place from 1920 to 1940, another key period of thinking around documentary, race, and gender. Drawing women’s cultural expression during these two explosive times into conversation, Warren reconsiders key debates about subjectivity, feminism, realism, and documentary and their lasting epistemological and material consequences for film and feminist studies. She also excavates the lost ethnographic history of women’s documentary filmmaking in the earlier era and explores the political and aesthetic legacy of these films in more explicitly feminist periods like the Seventies.
PAPER, 978-0-252-08434-8 $24.95s £18.99 E-BOOK, 978-0-252-05137-1 A volume in the series Women and Film History International, edited by Kay Armatage, Jane M. Gaines, and Christine Gledhill
Filled with challenging insights and new close readings, Subject to Reality sheds light on a profound and unexamined history of feminist documentaries while revealing their influence on the filmmakers of today.
All rights: University of Illinois
SHILYH WARREN is an associate professor of film and aesthetic studies at the University of Texas at Dallas.
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QUEER TIMING
The Emergence of Lesbian Sexuality in Early Cinema
SUSAN POTTER A daring theoretical revision of feminist and queer perspectives “Queer Timing is notable for its careful delineation of the objects it analyzes. Readers encounter especially thoughtful and well-grounded historical claims.” —CHOICE
“Susan Potter provides a necessary complication of early cinema studies by taking seriously both the particularities of early cinema and the radical alterity of the sexualities that—though fleeting—indelibly informed it. While film historical writing deeply aligned with both queer theory and the history of sexuality remains all too rare, Queer Timing might be the first study to so thoroughly pursue its project of lesbian emergence in precisely these terms.” —MARK LYNN ANDERSON, author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America
238 PAGES. 6 X 9 INCHES 22 BLACK & WHITE PHOTOGRAPHS
In Queer Timing, Susan Potter offers a counter-history that reorients accepted views of lesbian representation and spectatorship in early cinema. Potter sees the emergence of lesbian figures as only the most visible but belated outcome of multiple sexuality effects. Early cinema reconfigured older erotic modalities, articulated new—though incoherent—sexual categories, and generated novel forms of queer feeling and affiliation.
HARDCOVER, 978-0-252-04246-1 $99.00x £79.00 PAPER, 978-0-252-08424-9 $28.00x £20.99 E-BOOK, 978-0-252-05130-2
Potter draws on queer theory, silent film historiography, feminist film analysis, and archival research to provide an original and innovative analysis. Taking a conceptually oriented approach, she articulates the processes of filmic representation and spectatorship that reshaped, marginalized, or suppressed women’s same-sex desires and identities. As she pursues a sense of “timing,” Potter stages scenes of the erotic and intellectual encounters shared by historical spectators, on-screen figures, and present-day scholars. The result is a daring revision of feminist and queer perspectives that foregrounds the centrality of women’s same-sex desire to cinematic discourses of both homo- and heterosexuality.
A volume in the series Women and Film History International, edited by Kay Armatage, Jane M. Gaines, and Christine Gledhill All rights: University of Illinois
SUSAN POTTER is lecturer in film studies at the University of Sydney.
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MASCOT NATION
The Controversy over Native American Representations in Sports
ANDREW C. BILLINGS and JASON EDWARD BLACK Looking for consensus on one of the most divisive issues in sports “Valuable . . . Examine[s] all sides of the issue with an objective eye.” —BOOKLIST
“Mascot Nation is a welcome addition to the literature on the Native American mascot controversy. Well researched and clearly written, this account offers a novel, interdisciplinary, multidimensional approach. Recommended.” —CHOICE 256 PAGES. 6 X 9 INCHES 45 BLACK & WHITE PHOTOGRAPHS, 3 CHARTS, 11 TABLES
The issue of Native American mascots in sports raises passions but also a raft of often-unasked questions. Which voices get a hearing in an argument? What meanings do we ascribe to mascots? Who do these mascots really represent?
HARDCOVER, 978-0-252-04209-6 $99.00x £82.00
Andrew C. Billings and Jason Edward Black go beyond the media bluster to reassess the mascot controversy. Their multidimensional study delves into the textual, visual, and ritualistic and performative aspects of sports mascots. Their original research, meanwhile, surveys sports fans themselves on their thoughts when a specific mascot faces censure. The result is a book that merges critical-cultural analysis with qualitative data to offer an innovative approach to understanding the camps and fault lines on each side of the issue, the stakes in mascot debates, whether common ground can exist and, if so, how we might find it.
PAPER, 978-0-252-08378-5 $24.95s £20.99 E-BOOK, 978-0-252-05084-8 All rights: University of Illinois
ANDREW C. BILLINGS is a professor and Ronald Reagan Chair of Broad casting at the University of Alabama. He is the author of Olympic Television: Broadcasting the Biggest Show on Earth and The Media and the Coming Out of Gay Athletes in American Team Sports. JASON EDWARD BLACK is chair and a professor of communication studies at the University of North Carolina at Charlotte. His books include Decolonizing Native American Rhetoric: Communicating Self-Determination and American Indians and the Rhetoric of Removal and Allotment.
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ALICE IN PORNOLAND
Hardcore Encounters with the Victorian Gothic
LAURA HELEN MARKS Victorian repression, sexual expression, porn obsession “Through its in-depth investigation of the dialogue between the porn industry and the world of our supposedly ‘prudish’ forefathers, Alice in Pornoland: Hardcore Encounters with the Victorian Gothic represents an important contribution to the analysis of a cinematic genre (neo-Victorian porn) that has been partially neglected in scholarly works.” —NEO-VICTORIAN STUDIES The unquenchable thirst of Dracula. The animal lust of Mr. Hyde. The acquiescence of Lewis Carroll’s Alice. Victorian literature—with its overtones of prudishness, respectability, and Old World hypocrisy—belies a subverted eroticism. The Victorian Gothic is monstrous but restrained, repressed but perverse, static but transformative, and preoccupied by gender and sexuality in both regressive and progressive ways.
232 PAGES. 6 X 9 INCHES 33 BLACK & WHITE PHOTOGRAPHS
Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era’s Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today’s pornographic fantasies. In turn she exposes what porning the Victorians shows us about pornography as a genre.
HARDCOVER, 978-0-252-04214-0 $99.00x £82.00
A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.
A volume in the series Feminist Media Studies, edited by Carol Stabile
PAPER, 978-0-252-08385-3 $24.95s £20.99 E-BOOK, 978-0-252-05088-6
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LAURA HELEN MARKS is a postdoctoral teaching fellow in the Department of English at Tulane University.
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DISTRIBUTED TITLE
CHICAGO NEW MEDIA, 1973–1992 JON CATES Light and vision from the vanguard of the new media revolution Chicago New Media, 1973–1992 chronicles the unrecognized story of Chicago’s contributions to new media art by artists at the University of Illinois at Chicago’s Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city’s new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era, who connected new media, academia, and industry. 96 PAGES. 8.5 X 11 INCHES 50 COLOR PHOTOGRAPHS, 20 BLACK & WHITE PHOTOGRAPHS
This catalog is a companion to the exhibition Chicago New Media 1973–1992, curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicago, a 2018 initiative of the Terra Foundation for American Art, with presenting partner The Richard H. Driehaus Foundation, to explore Chicago’s art and design legacy.
PAPER, 978-0-252-08407-2 $19.95 £15.99 Published by the Video Game Art Gallery.
JON CATES is an associate professor in the Department of Film, Video, New Media, and Animation and the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He curates and exhibits his projects internationally.
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LANA AND LILLY WACHOWSKI CÁEL M. KEEGAN A new perspective on film’s most audacious innovators “An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise. . . . makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended.” —CHOICE
“Keegan approaches trans* in the Wachowskis’ cinema not in terms of literal, figurative representation but rather as a lens through which new forms and narratives may be evinced. Trans* thus becomes at once an ideological critique, method, and sensory experience.” —FILM QUARTERLY 196 PAGES. 5.5 X 8.25 INCHES 27 BLACK & WHITE PHOTOGRAPHS
Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world’s most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture.
HARDCOVER, 978-0-252-04212-6 $99.00x £82.00 PAPER, 978-0-252-08383-9 $22.00s £17.99
Cáel M. Keegan views the Wachowskis’ films as an approach to trans* experience that maps a transgender journey and the promise we might learn “to sense beyond the limits of the given world.” Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.
E-BOOK, 978-0-252-05087-9 A volume in the series Contemporary Film Directors, edited by Justus Nieland and Jennifer Fay All rights: University of Illinois
CÁEL M. KEEGAN is an assistant professor of women, gender, and sexuality studies and liberal studies at Grand Valley State University.
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WOMEN AT WORK IN TWENTY-FIRST-CENTURY EUROPEAN CINEMA BARBARA MENNEL Europe’s working women in film fantasy and sobering reality “Highly recommended.” —CHOICE
“A beautiful balance between plot analysis and aesthetic evaluation to show how cinematic forms and subjects work together to root women’s labor in gendered and economic contexts.” —MAI: FEMINISM & VISUAL CULTURE From hairdressers and caregivers to reproductive workers and power-suited executives, images of women’s labor have powered a fascinating new movement within twenty-first-century European cinema. Social realist dramas capture precarious working conditions. Comedies exaggerate the habits of the global managerial class. Stories from countries battered by the global financial crisis emphasize the patriarchal family, debt, and unemployment.
258 PAGES. 6 X 9 INCHES 27 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04222-5 $99.00x £82.00 PAPER, 978-0-252-08395-2 $27.95s £22.99
Barbara Mennel delves into the ways these films about female labor capture the tension between feminist advances and their appropriation by capitalism in a time of ongoing transformation. Looking at independent and genre films from a cross-section of European nations, Mennel sees a focus on economics and work adapted to the continent’s varied kinds of capitalism and influenced by concepts in second-wave feminism. More than ever, narratives of work put female characters front and center—and female directors behind the camera. Yet her analysis shows that each film remains a complex mix of progressive and retrogressive dynamics as it addresses the changing nature of work in Europe.
E-BOOK, 978-0-252-05096-1 All rights: University of Illinois
BARBARA MENNEL is an associate professor of film studies in the Departments of English and of Languages, Literatures, and Cultures at the University of Florida. Her books include The Representation of Masochism and Queer Desire in Film and Literature and Queer Cinema: Schoolgirls, Vampires, and Gay Cowboys.
www.press.uillinois.edu
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