Asian history Books

Book SynopsisA study of the effects of translation practices and historical writings in the Philippines on questions of nationalismTrade Review“Following up on Contracting Colonialism, Vicente L. Rafael studies the Philippine nationalists’ failed attempts to lay claim to Spanish, and the emergence of a hungry Tagalog meaning-machine eager to ‘host the foreign in the familiar.’ Rafael takes his readers on an astonishing trip through the Philippine cultural archive, from vernacular comedia, epic and novel, to underground newspapers, speeches, and the captured documents of secret societies, examining language as an unstoppable producer of social and political possibilities, including the possibility of the national. No one grasps better than Rafael the ambiguous agency of language in colonialism and decolonization.”—Mary Louise Pratt, New York University“In the tradition of James Siegel and Benedict Anderson, Vicente L. Rafael has given us a daring book about the ambivalent origins of the nation in the Philippines. It will be loved and emulated by students of nationalism, Southeast Asia, and comparative literary studies everywhere. There is good reason for this, for it is a beautiful book, a book of readings for lovers of literature, a book about literature for the media age. Mostly, however, it is a book about the foreignness in us all: an unassailable refutation of nationalist ideologies of purity.”—Rosalind C. Morris, author of In the Place of Origins: Modernity and Its Mediums in Northern Thailand“This latest work is one of erudition and unique insight. What is characteristic of Rafael’s prose is not only its eloquence but the meticulous unpacking of every snippet of source material, which is mined for its heuristic value, propelling the argument towards often unique lateral understandings. This is a work that would be of great value to Philippinists in particular and to those who are interested in the development of nationalist thought in Southeast Asia more broadly.” -- Julius J. Bautista * Journal of Southeast Asian Studies *Table of ContentsAcknowledgments xi Preface xv Introduction: Forgiving the Foreign 1 1. Translation and Telecommunication: Castilian as Lingua Franca 17 2. The Phantasm of Revenge: On Rizal's Fili 36 3. The Call of Death: On Rizal's Noli 4. The Colonial Uncanny: The Foreign Lodged in the Vernacular 96 5. Making the Vernacular Foreign: Tagalog as Castilian 119 6. Pity, Recognition, and the Risks of Literature in Balagtas 132 7. "Freedom = Death": Conjurings, Secrecy, Revolution 159 Afterword: Ghostly Voices: Kalayaan's Address 183 Notes 191 Works Cited 213 Index 223

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Book SynopsisTells the complex story of one episode that became the tipping point for an important historical transformation. This title provides graphic details of a variety of social ills in India, especially those related to the status of women and to the particular plight of the country's child wives.Trade Review“It is rarely that one can say of an academic book that it is unputdownable, but Specters of Mother India is just that. Not only is it written with a narrative skill not always to be found in historical studies, but it offers a fresh and compelling argument about a short but crucial period (1925–1935) in pre-Independence India, as a historical turning point. Mrinalini Sinha’s reading of Katherine Mayo’s Mother India as symptom and catalyst of the radical shifts that occurred in this period will impact on a number of fields well beyond South Asian history. The monumental scholarship and stupendous historical reach of this book are breathtaking.”—Rajeswari Sunder Rajan, author of The Scandal of the State: Women, Law, and Citizenship in Postcolonial India“This is no ordinary history of a text; with impressive scholarship and historical imagination, Mrinalini Sinha reads the controversy surrounding the publication of Katherine Mayo’s book as a fascinating chapter in the interwar history of colonialism. Placing the ‘legend of Mother India’ in its appropriate global context, she offers a probing analysis of the social transformations that it drew upon and shaped. Questions of the empire and imperial legitimacy, the nation and its others, and feminism and citizenship emerge as issues thrown open by the historical location and reception of Mayo’s book. This is a work of vital importance to the study of the colonial genealogy of the modern world.”—Gyan Prakash, author of Another Reason: Science and the Imagination of Modern India“This is one of the most important books I’ve read in a long time, a brilliant and unusual accomplishment. It’s full of insights backed by new evidence—from archives around the world—that will change the ways we think about colonialism and decolonization, the role of women in global and national politics, and the theories that can be mobilized to help rethink issues in twentieth-century global history.”—Bonnie G. Smith, author of The Gender of History: Men, Women, and Historical Practice“Specters of Mother India delivers what one has come to expect of Mrinalini Sinha’s work. The book is at once theoretically sophisticated and empirically grounded. The monograph, in its introduction, five chapters, and epilogue, not only traverses many sub-fields within the discipline of history, but also comfortably deploys analytical tools from other disciplines, such as literary criticism and feminist theories. . . . In artfully quilting together multiple historical scenarios and actors, Sinha allows readers to appreciate the labour involved in practicing the historian’s craft.” -- Sanjam Ahluwalia * Women's History Review *“[Sinha] considers women’s collective agency in the early twentieth century [and] challenges what has become conventional historiographic wisdom. . . . Groundbreaking.” * American Historical Review *“Finally a scholar has successfully theorized the relationship of gender and nationalism that accommodates the historical specificities of women and twentieth century nationalism in India. With this example of transnational history, Sinha’s Specters of Mother India has finally put to rest the claim of an earlier generation, who questioned the relevance of gender as a subject of South Asian studies.” -- Lisa Trivedi, * Journal of Colonialism & Colonial History *“In Specters of Mother India, Mrinalini Sinha achieves an amazing feat: relating the publication of a single book to the ‘global restructuring of an empire,’ arguing that this was actually a moment when Indian women articulated their demands as universal liberal citizens.” -- Jinee Lokaneeta * Signs *“Sinha’s important and wide-ranging book weaves together an account of major significance for the fields of gender history, global and imperial studies, and modern Indian history, as well as for current debates in historiography. . . . [T]his book newly illuminates the political rupture that marked the inter-war era, and in its analytical depth, clarity and complexity, it offers a real model for the writing of both gender and global histories.” -- Rachel Sturman * Gender & History *“This is an extremely well-crafted and tightly argued book about the importance of situating events historically, examining the process of contingency, and following the different iterations and reception of a single event in a range of geographical, cultural, and political domains. A dense historical narrative substantiates ambitious and innovative theoretical claims, and that will make this book an important model of scholarship for years to come.” -- Durba Ghosh * Journal of British Studies *Table of ContentsAbout the Series ix Acknowledgements xi Note on Nomenclature and Transliteration xv Introduction: The Anatomy of an Event 1 1. A Transitional Moment: The Dynamics of an Interwar Imperial Social Formation 23 2. Unpredictable Outcome: The Trajectory of a Transatlantic Intervention 66 3. Ironic Reversal: The Rhetoric of “Facts” in the Controversy over Mother India 109 4. Refashioning Mother India: The Sarda Act and Women’s Collective Agency 152 5. Ambiguous Aftermath: Political Consolidation on the Eve of the Second World War 197 Epilogue: History, Memory, Event 248 Notes 255 Bibliography 336 Index 361

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Book SynopsisIn this timely, nuanced collection, twenty leading cultural theorists assess the contradictory ideals, policies, and practices of secularism in India.Trade Review“Indian public debates on the question of secularism have been among the most thought-provoking in the contemporary world. This rich collection of essays by Indian intellectuals (including historians, political scientists, and philosophers) reflects the sophisticated character of many of the arguments being deployed. I strongly recommend it to anyone who has been seriously thinking about this problem.”—Talal Asad, author of Formations of the Secular: Christianity, Islam, Modernity“This very rich collection of essays from a stellar line of contributors is remarkable not only because it updates Indian debates on secularism. It also evinces a spirit of scrupulous engagement with the present by deliberately situating itself in the shadow of the anti-Muslim violence in Gujarat in 2002. Philosophical, historical, and contemporary at the same time, these essays add a new dimension to global discussions of liberalism and the politics of the religious Right.”—Dipesh Chakrabarty, author of Habitations of Modernity: Essays in the Wake of Subaltern Studies“This illuminating anthology not only speaks volumes about its distinguished editors but also demands close reading of the scholarly articles by a group of humanists, social scientists, and legal practitioners of India and the U. S. . . . The aim of this timely and scholarly anthology is to provide a forum with a view to brainstorming a model for a viable, reasonable, and rational secular society in post-Gujarat India.” -- Narasingha P. Sil * Religious Studies Review *“This insightful and informative volume benefits from contributors who are leaders in their fields and is to be recommended to anyone with an interest in religion in India for its sometimes provocative, but always thoughtful engagement with a vitally important contemporary issue which has much broader ramifications in India and elsewhere.” -- Catherine Robinson * Journal of Contemporary Religion *Table of ContentsPreface vii Acknowledgments xi Introduction / Rajeswari Sunder Rajan and Anuradha Dingwaney Needham 1 I. Secularism’s Historical Background Reflections on the Category of Secularism in India: Gandhi, Ambedkar, and the Ethics of Communal Representation, c. 1931 / Shabnum Tejani 45 A View from the South: Ramasami’s Public Critique of Religion / Paula Richman and V. Geetha 66 Nehru’s Faith / Sunil Khilnani 89 II. Secularism and Democracy Closing the Debate on Secularism: A Personal Statement / Ashis Nandy 107 Living with Secularism / Nivedita Menon 118 The Contradictions of Secularism / Partha Chatterjee 141 Secular Nationalism, Hindutva, and the Minority / Gyan Prakash 177 III. Sites of Secularism: Education, Media, and Cinema Secularism, History, and the Contemporary Politics in India / Romila Thapar 191 The Gujarat Experiment and Hindu National Realism: Lessons from Secularism / Arvind Rajagopal 208 Secularism and Popular Indian Cinema / Shyam Benegal 225 Neither State nor Faith: The Transcendental Significance of the Cinema / Ravi S. Vasudevan 239 IV. Secularism and Personal Law Siting Secularism in the Uniform Civil Code: A “Riddle Wrapped Inside an Enigma”? / Upendra Baxi 267 The Supreme Court, the Media, and the Uniform Civil Code Debate in India / Flavia Agnes 294 Secularism and the Very Concept of Law / Akeel Bilgrami 316 V. Conversion Literacy and Conversion in the Discourse of Hindu Nationalism / Gauri Viswanathan 333 Christian Conversions, Hindutva, and Secularism / Sumit Sarkar 356 Appendix: Chronology of the Career of Secularism in India / Dwaipayan Sen 369 Works Cited 373 Contributors 397 Index 401

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Book SynopsisCalendar art appears in all manner of contexts in India: in chic elite living rooms, middle-class kitchens, urban slums, and village huts. This book examines the power that calendar art wields in Indian mass culture, arguing that its meanings derive as much from the production and circulation of the images as from their visual features.Trade Review“[A] world full of surprising diversity, economic ingenuity, and artistic acumen both from the author and her subject.” - Stefaan Van Ryssen, Leonardo“[T]here is no doubt that the author has written a most interesting, illuminative and valuable book on the calendar art of India, which is bound to serve as an authoritative source of reference to scholars and lay people alike for a long time to come.” - Singaravelu Sachithanantham, Asian Anthropology“Gods in the Bazaar is a rich and sophisticated treatment of visual culture in India. . . . Through close reading and ethnographic exploration, Jain provides a compelling account of the way in which these images permeate everyday life and animate the meaning of modernity in postcolonial India. . . . Jain makes an exemplary contribution to the scholarship on how popular art forms intertwine with quotidian practices and gain both meaning and value across communities and over time. . . . Kajri Jain’s book is replete with beautiful collection of images ranging from gods and goddesses, to divine babies, to national icons.” - Radha S. Hegde, Anthropological Quarterly“Jain is thoroughly engaged in the literatures of South Asian art history, history, and anthropology, and she makes sustained interventions in religious studies. Her book should command the attention of scholars in all of those disciplines and would be of use in both undergraduate and graduate classes studying modern South Asia. . . . [T]he strength of Jain’s account argues forcefully that an understanding of Indian visual culture is essential to an understanding of Indian public culture as a whole.” - Karin Zitzewitz, Journal of Asian Studies“Gods in the Bazaar is replete with glorious color illustrations, providing a feast for a reader’s eyes and much material for thought. . . . Jain is to be commended for her meticulous research and provocative insights, which mark this study of bazaar arts.” - Joanna Kirkpatrick, Visual Anthropology“This book is groundbreaking for modern Indian visual culture.” - Ajay Sinha, Art History“A virtuoso examination of the ‘luminous banality’ of calendar art. In mapping the moral economy of bazaar Hinduism, it provides a history of much of twentieth-century India and predicts much of what might happen in the present century.”—Christopher Pinney, author of “Photos of the Gods”: The Printed Image and Political Struggle in India“In this groundbreaking book, Kajri Jain analyzes the ‘frames of value’ surrounding the contemporary Indian genre of mass-produced prints often known as bazaar art, ‘lurid, pungent, frequently tatty’ colored images of gods displayed on calendars. Recognizing that the value of these printed images to their viewers far exceeds their literal material value or the value that we might be tempted to assign to them in artistic terms, in a rich and vivid analysis based on firsthand research in the calendar-art industry Jain deals with their many values—social, political, religious, aesthetic, historical, affective, and libidinal. Gods in the Bazaar makes a significant theoretical contribution to globalizing our notion of aesthetic experience; in the sensuous and sacred economies of calendar art, what appears to be lurid and tatty can also be moving, precious, and exciting. Jain’s deft weaving of art history, aesthetics, anthropology, and the study of popular visual culture is a tour de force and deserves a wide readership among students of all image-making traditions around the world.”—Whitney Davis, Professor of History and Theory of Ancient and Modern Art, University of California, Berkeley“Gods in the Bazaar is replete with glorious color illustrations, providing a feast for a reader’s eyes and much material for thought. . . . Jain is to be commended for her meticulous research and provocative insights, which mark this study of bazaar arts.” -- Joanna Kirkpatrick * Visual Anthropology *“Gods in the Bazaar is a rich and sophisticated treatment of visual culture in India. . . . Through close reading and ethnographic exploration, Jain provides a compelling account of the way in which these images permeate everyday life and animate the meaning of modernity in postcolonial India. . . . Jain makes an exemplary contribution to the scholarship on how popular art forms intertwine with quotidian practices and gain both meaning and value across communities and over time. . . . Kajri Jain’s book is replete with beautiful collection of images ranging from gods and goddesses, to divine babies, to national icons.” -- Radha S. Hegde * Anthropological Quarterly *“[A] world full of surprising diversity, economic ingenuity, and artistic acumen both from the author and her subject.” -- Stefaan Van Ryssen * Leonardo Reviews *“[T]here is no doubt that the author has written a most interesting, illuminative and valuable book on the calendar art of India, which is bound to serve as an authoritative source of reference to scholars and lay people alike for a long time to come.” -- Singaravelu Sachithanantham * Asian Anthropology *“Jain is thoroughly engaged in the literatures of South Asian art history, history, and anthropology, and she makes sustained interventions in religious studies. Her book should command the attention of scholars in all of those disciplines and would be of use in both undergraduate and graduate classes studying modern South Asia. . . . [T]he strength of Jain’s account argues forcefully that an understanding of Indian visual culture is essential to an understanding of Indian public culture as a whole.” -- Karin Zitzewitz * Journal of Asian Studies *Table of ContentsNotes on Style vii Acknowledgments ix Introduction: Calendar Art as an Object of Knowledge 1 Part 1. Genealogy 1. Vernacularizing Capitalism: Sivakasi and Its Circuits 31 2. When the Gods Go to Market 77 3. Naturalizing the Popular 115 Part 2. Economy 4. The Sacred Icon in the Age of the Work of Art and Mechanical Reproduction 171 5. The Circulation of Images and the Embodiment of Value 217 Part 3. Efficacy 6. The Efficacious Image and the Sacralization of Modernity 269 7. Flexing the Canon 315 Conclusion 355 Notes 375 Works Cited 409 Index 427

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Trade Review“Kingdom of Beauty is first-rate. Kim Brandt’s analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic—and of the ideological with the material—makes the book a model of cultural history.”—Kären Wigen, author of The Making of a Japanese Periphery, 1750–1920“A richly textured, beautifully written, and provocatively argued analysis of the Japanese folk-craft movement, this study sheds light on empire, middle-class material culture, the aesthetics of fascism, and much else common to twentieth-century societies in the throes of dislocating change. A beguiling book on important themes.”—Carol Gluck, George Sansom Professor of History, Columbia University“Kingdom of Beauty is an important work that contributes a grounded account of knowledge production processes, dynamics of art evaluation, and achievements of art centered social activism in a colonial setting that will beuseful to scholars in many fields.” -- Liora Sarfati * Museum Anthropology Review *“Kingdom of Beauty is truly the most compelling study of Mingei I have read: it not only answers questions hitherto unanswered, but also provides useful tools for the future study of Mingei, particularly in the context of today’s increasingly globalizing world. . . . I am deeply struck by the manner in which the author has approached often contentious topics with unabated tenacity, integrity, and sincerity.” * Asian Ethnology *“[A]n impressive narrative of mingei’s cultural history . . . . Kingdom of Beauty is a rigorous scholarly work, much of which is based on Brandt’s judicious use of Japanese primary resources. It is beautifully written, and benefits from the inclusion of numerous . . . plates of mingei wares. Brandt’s argument is tight, comprehensive and engaging and, most importantly, groundbreaking in its excavation of the complex social forces at work and the entities associated with mingei’s ascent in the first half of last century.” -- Penny Bailey * Asian Studies Review *Table of ContentsAcknowledgments ix Introduction 1 1. The Beauty of Sorrow 7 2. The Discovery of Mingei 38 3. New Mingei in the 1930s 83 4. Mingei and the Wartime State, 1937-1945 124 5. Renovating Greater East Asia 173 Epilogue 223 Notes 229 Bibliography 277 Index 293

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Book SynopsisOffers a critical analysis of China's "long 1990s," the tumultuous years between the 1989 Tiananmen Square crackdown and China's entry into the World Trade Organization in 2001. This title examines the reactions of intellectuals, authors, and filmmakers to the cultural and political shifts in 1990s China.Trade ReviewWith this new book, Zhang has provided an indispensible critical lens through which to discern the dizzying speed of social change and dazzling complexity that characterize the contemporary Chinese condition as symptomatic of ‘the Reagan, Thatcher, and Deng Xiaoping Revolution.’” - David Leiwei Li, Comparative Literature“Postsocialism and Cultural Politics is, among many things, both well organised and easy to navigate. . . . [Zhang’s] application of postsocialism to literature and film is deft and nuanced, and proffers arresting insights into the works themselves as well as the socio-political situation they exist in. Zhang's subtle understanding of Deleuze, Adorno, Walter Benjamin, and Derrida underpins his analysis of Chinese literature and film. His examples drawn from the works of Baudelaire, Dickens, nineteenth-century German oil painting, Balzac, and Kafka lends Zhang's work a cosmopolitan quality, and draws parallels beyond the parameters of his subject. Postsocialism and Cultural Politics is a thorough and compelling examination of the socio-political situation in 1990s China.” - Joshua Hoey, M/C Reviews“An extraordinarily rich panorama of the cultural and socio-political debates in China today. Xudong Zhang’s analyses are not only models of theoretical interpretation, the whole book can stand as a triumphant demonstration of the way in which readings of novels, films, social and political texts, and the polemics around them can be positioned to illuminate each other.”—Fredric Jameson, Duke University“Xudong Zhang has produced a brilliant and compelling study of the various forces struggling with one another in China during the pivotal decade that followed the failure of the 1989 social movement. Through a deft explication of the complicated factors at play—summed up wonderfully in a clear exposition of the collision between postmodernism and postsocialism—Zhang is able to provide a uniquely nuanced picture of the China that has emerged as such a formidable force in our globalized age.”—Theodore Huters, author of Bringing the World Home: Appropriating the West in Late Qing and Early Republican China“Postsocialism and Cultural Politics is, among many things, both well organised and easy to navigate. . . . [Zhang’s] application of postsocialism to literature and film is deft and nuanced, and proffers arresting insights into the works themselves as well as the socio-political situation they exist in. Zhang's subtle understanding of Deleuze, Adorno, Walter Benjamin, and Derrida underpins his analysis of Chinese literature and film. His examples drawn from the works of Baudelaire, Dickens, nineteenth-century German oil painting, Balzac, and Kafka lends Zhang's work a cosmopolitan quality, and draws parallels beyond the parameters of his subject. Postsocialism and Cultural Politics is a thorough and compelling examination of the socio-political situation in 1990s China.” -- Joshua Hoey * M/C Reviews *With this new book, Zhang has provided an indispensible critical lens through which to discern the dizzying speed of social change and dazzling complexity that characterize the contemporary Chinese condition as symptomatic of ‘the Reagan, Thatcher, and Deng Xiaoping Revolution.’” -- David Leiwei Li * Comparative Literature *Table of ContentsAcknowledgments ix Introduction: The Cultural Politics of Socialism 1 Part I. Intellectual Discourse: National and Global Determinations 1. The Return of the Political: The Making of the Post-Tiananmen Intellectual Field 25 2. Nationalism, Mass Culture, and Intellectual Strategies in the 1990s 102 3. Postmodernism and Postsocialist Society: Cultural Politics after the "New Era" 136 Part II. Literary Discourse: Narrative Possibilities of Postsocialism 4. Shanghai Nostalgia: Mourning and Allegory in Wang Anyi's Literary Production in the 1990s 181 5. Toward a Critical Iconography: Shanghai, "Minor Literature," and the Unmaking of a Modern Chinese Mythology 212 6. "Demonic Realism" and the "Socialist Market Economy": Language Game, Natural History, and Social Allegory in Mo Yan's The Republic of Wine 240 Part III. Cinematic Discourse: Universality, Singularity, and the Everyday World 7. National Trauma, Global Allegory: Construction of Collective Memory in Tian Zhuangzhuang's The Blue Kite 269 8. Narrative, Culture, and Legitimacy: Repetition and Singularity in Zhang Yimou's The Story of Qiu Ju 289 Notes 311 Bibliography 331 Index 341

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Book SynopsisExamines how Muslim women came to represented as invisible, backward, and victimized in the written history of late colonial Bengal. This title argues that their near-invisibility, except as victims, in normative histories of India was central to the consolidation of national identity in the colonial period and beyond.Trade Review“Seeking to correct erstwhile celebratory representations of Muslim women, Visible Histories neither extols the virtues of Muslim womanhood in the late colonial period of Bengal, nor does it seek to redress for their untold stories. Visible Histories’ contribution to colonial historiography is more nuanced.” - Anita Anantharam, Journal of Colonialism and Colonial History“Mahua Sarkar’s . . . original and stimulating study. . . . Sarkar also seeks to enlarge notions of women’s ‘agency’ beyond those privileged by liberal feminists.” - Barbara D. Metcalf, Journal of Women’s History“By engaging with existing scholarship, Sarkar draws eclectically on a range of disciplines: sociology, anthropology, history, feminist and gender studies. The book represents historical sociology at its cutting edge by bringing intellectual history into the post-colonial present.” - Durba Ghosh, Social History“. . . Mahua Sarkar’s project . . . marks indeed a welcome and important intervention in postcolonial Indian historiography.” - Rochona Majumdar, Economic & Political Weekly“Visible Histories, Disappearing Women is an analytically insightful, genuinely original work that breaks new ground in South Asian history, gender and women’s studies, postcolonial theory, and historical sociology. One of its strengths is Mahua Sarkar’s insistence that history as a discipline and feminism as a politics have disappeared the Muslim woman as a subject.”—Antoinette Burton, editor of Archive Stories: Facts, Fictions, and the Writing of History“Mahua Sarkar’s insightful study of Bengali Muslim women’s writings and oral testimonies is not a simple project of reclaiming the history of marginalized subjects. The point of her thoughtful and penetrating analysis is to illuminate the structures of representation—in both official histories and popular memories—that produce the specific ways in which the figure of the Muslim woman becomes visible. Sarkar exposes the nation-centered focus and the liberal-feminist politics that have shaped the specific marginalization of Muslim women in accounts of late colonial Bengal. Hers is ultimately a passionate and nuanced call for a re-orientation of existing scholarship with far-reaching implications for the contours both of historiography and of contemporary politics.”—Mrinalini Sinha, author of Specters of Mother India: The Global Restructuring of an Empire“Mahua Sarkar’s project . . . marks indeed a welcome and important intervention in postcolonial Indian historiography.” -- Rochona Majumdar * Economic and Political Weekly *“By engaging with existing scholarship, Sarkar draws eclectically on a range of disciplines: sociology, anthropology, history, feminist and gender studies. The book represents historical sociology at its cutting edge by bringing intellectual history into the post-colonial present.” -- Durba Ghosh * Social History *“Mahua Sarkar’s . . . original and stimulating study. . . . Sarkar also seeks to enlarge notions of women’s ‘agency’ beyond those privileged by liberal feminists.” -- Barbara D. Metcalf * Journal of Women's History *“Seeking to correct erstwhile celebratory representations of Muslim women, Visible Histories neither extols the virtues of Muslim womanhood in the late colonial period of Bengal, nor does it seek to redress for their untold stories. Visible Histories’ contribution to colonial historiography is more nuanced.” -- Anita Anantharam * Journal of Colonialism & Colonial History *Table of ContentsAcknowledgments ix Introduction: Writing Difference 1 1. The Colonial Cast: The Merchant, the Soldier, the "Writer" (Clerk), Their Lovers, and the Trouble with "Native Women's" Histories 27 2. The Politics of (In)visibility: Muslim Women in (Hindu) Nationalist Discourse 48 3. Negotiating Modernity: The Social Production of Muslim-ness in Late Colonial Bengal 78 4. Difference in Memory 133 Conclusion: Connections 196 Notes 205 Bibliography 287 Index 331

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Book SynopsisOne of the most prolific and respected directors of the Japanese cinema, Naruse Mikio (1905-69) made eighty-nine films between 1930 and 1967. This book illuminates Naruse's contributions to Japanese and world cinema.Trade Review“The Cinema of Naruse Mikio presents not only a deft and subtle run-through of the world of an important auteur, but also a virtual encapsulation of the intellectual history of Japanese cinema during its most important period, the 1930s–60s. Catherine Russell contextualizes Naruse in the commercial situation in which he worked and in the historical, social, political, and intellectual project of mid-twentieth-century Japan. I came away firmly believing that Naruse was more attuned to how modernity was leaving its indelible marks on Japanese women than any other director of classical Japanese cinema. For students of feminist film criticism, Russell’s book is an absolute must.”—David Desser, author of Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“Even for those who read Japanese and are familiar with Naruse Mikio’s work, Catherine Russell’s book contributes to a new understanding of his cinema. Russell shows how Naruse’s films contributed to Japanese modernity as a cultural movement, and, using feminist film criticism and Miriam Hansen’s influential concept of ‘vernacular modernism,’ she traces how his films illuminate female subjectivity throughout the studio era.”—Daisuke Miyao, author of Sessue Hayakawa: Silent Cinema and Transnational StardomTable of ContentsAcknowledgments ix Preface xi Introduction: The Auteur as Salaryman 1 1. The Silent Films: Women in the City, 1930-1934 39 2. Naruse as P.C.L.: Toward a Japanese Classical Cinema, 1935-1937 81 3. Not a Monumental Cinema: Wartime Vernacular, 1938-1945 131 4. The Occupation Years: Cinema, Democracy, and Japanese Kitsch, 1945-1952 167 5. The Japanese Woman's Film of the 1950s, 1952-1958 226 6. Naruse in the 1960s: Stranded in Modernity, 1958-1967 315 Conclusion 398 Notes 405 Filmography 431 Bibliography 435 Index 447

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Book SynopsisIn Tours of Vietnam, Scott Laderman demonstrates how tourist literature has shaped Americans’ understanding of Vietnam and projections of United States power since the mid-twentieth century. Laderman analyzes portrayals of Vietnam’s land, history, culture, economy, and people in travel narratives, U.S. military guides, and tourist guidebooks, pamphlets, and brochures. Whether implying that Vietnamese women were in need of saving by “manly” American military power or celebrating the neoliberal reforms Vietnam implemented in the 1980s, ostensibly neutral guides have repeatedly represented events, particularly those related to the Vietnam War, in ways that favor the global ambitions of the United States.Tracing a history of ideological assertions embedded in travel discourse, Laderman analyzes the use of tourism in the Republic of Vietnam as a form of Cold War cultural diplomacy by a fledgling state that, according to one pamphlet published by thTrade Review“. . .Tours of Vietnam makes a powerful intervention into the on-going scholarly reassessment of the Vietnam wars and their memories along with providing new insight into the ways in which the practices of tourism and the employment of American power did, and do, go hand-in-hand.” - Mark Philip Bradley, H-Diplo Roundtable Reviews“Laderman succeeds in connecting the strands of diplomatic and public history in an elegantly written, approachable work.” - Kristin L. Ahlberg, The Public Historian“Tours of Vietnam is a book that overflows with good and useful questions.” - Peter Siegenthaler, Pacific Historical Review“With its extensive analysis of historical and contemporary tourism discourses and practices, this text will be of interest to a broad and interdisciplinary readership that is also concerned with the enduring exercise of US power. Laderman’s work can be situated in a longer tradition of scholarship on US memory of the ‘Vietnam War,’ though it notably ventures to the ‘other side’ to also examine Vietnamese practices of memory. . . . Tours of Vietnam is a powerful text and an unsettling reminder of how the entanglements of war, empire, and tourism continue to inform US-Vietnamese relations today.” - Christina Schwenkel, Journal of Tourism History“Tours of Vietnam is a valuable addition to the scholarship on the larger questions around the US foreign policy and the unexpectedly substantial role that presumably apolitical cultural products play in shaping national memory and global imaginations.” - Lana Lin, Left History“[T]his is an excellent revisionist interpretation of Western involvement in Southeast Asia that belongs in all library collections. Highly recommended.” - D. R. Jamieson, Choice“In this rich and nuanced work, Scott Laderman shows us how tourism and the making of empire have been inextricably linked during and after the American war in Vietnam. Whether exploring the curious efforts of the former South Vietnamese state and the American military to promote tourism as the war unfolded or interrogating how that ubiquitous traveling bible of the backpack set, the Lonely Planet guide, obscures more than it reveals about the Vietnamese past and present, Tours of Vietnam offers a powerful model for writing a new transnational history of the United States and its engagement in the wider world.”—Mark Bradley, University of Chicago“Not a rehash of old arguments, Tours of Vietnam is a stunningly original and truly twenty-first-century exploration of America’s war in Vietnam. Combining vast research, profound insights, and lucid prose, Scott Laderman gives us a multilayered, nuanced, and brilliant vision of interrelations among history, memory, foreign policy, and culture.”—H. Bruce Franklin, author of War Stars: The Superweapon and the American Imagination“Tours of Vietnam makes a powerful intervention into the on-going scholarly reassessment of the Vietnam wars and their memories along with providing new insight into the ways in which the practices of tourism and the employment of American power did, and do, go hand-in-hand.” -- Mark Philip Bradley * H-Diplo Roundtable Reviews *“Tours of Vietnam is a book that overflows with good and useful questions.” -- Peter Siegenthaler * Pacific Historical Review *“Tours of Vietnam is a valuable addition to the scholarship on the larger questions around the US foreign policy and the unexpectedly substantial role that presumably apolitical cultural products play in shaping national memory and global imaginations.” -- Lana Lin * Left History *“[T]his is an excellent revisionist interpretation of Western involvement in Southeast Asia that belongs in all library collections. Highly recommended.” -- D. R. Jamieson * Choice *“Laderman succeeds in connecting the strands of diplomatic and public history in an elegantly written, approachable work.” -- Kristin L. Ahlberg * The Public Historian *“With its extensive analysis of historical and contemporary tourism discourses and practices, this text will be of interest to a broad and interdisciplinary readership that is also concerned with the enduring exercise of US power. Laderman’s work can be situated in a longer tradition of scholarship on US memory of the ‘Vietnam War,’ though it notably ventures to the ‘other side’ to also examine Vietnamese practices of memory. . . . Tours of Vietnam is a powerful text and an unsettling reminder of how the entanglements of war, empire, and tourism continue to inform US-Vietnamese relations today.” -- Christina Schwenkel * Journal of Tourism History *Table of ContentsPrefatory Note: The Nomenclature of the Vietnam War ix Acknowledgments xiii Abbreviations and Acronyms xvii Introduction: History, Tourism, and the Question of Empire 1 1. Tourism and State Legitimacy in the Republic of Vietnam 15 2. Educating Private Ryan: Tourism and the United States Military in Postcolonial Vietnam 47 3. "They Set About Revenging Themselves on the Population": The "Hue Massacre" and the Shaping of Historical Consciousness 87 4. The New Modernizers: Naturalizing Capitalism in Doi Moi Vietnam 123 5. "The Other Side of the War": Memory and Meaning at the War Remnants Museum 151 Epilogue: Tourism and the Martial Fascination 183 Notes 189 References 249 Index 271

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Book SynopsisAn argument that subaltern experiences that are devalued and overlooked in progressive late-twentieth-century Philippine literature have been essential to the social and economic changes wrought by globalization.Trade Review“Things Fall Away is a major theoretical statement about contemporary forms of world making. In this brilliant and poetic book, Neferti Tadiar works through the dilemmas of our time—transnational labor flows, urban disorder, lost hopes for progressive change, new hopes for self-expression—to return feminist theory to center stage in our understanding of the global political economy.”—Anna Lowenhaupt Tsing, author of Friction: An Ethnography of Global Connection“Things Fall Away is a remarkable achievement. It is a work of considerable scope, full of penetrating insights and urgent critiques. It brings to the surface an entire literary history that very few know about in the West: a literary history that speaks volumes about the conditions of modernity in various parts of the world.”—Vicente L. Rafael, author of The Promise of the Foreign: Nationalism and the Technics of Translation in the Spanish Philippines“The study of the Philippines, one of Europe’s earliest and the US’s first colonies, obliges the rethinking of colonial histories. In the growing body of crucial work on the Philippines, Neferti X. M. Tadiar’s Things Fall Away is indispensable reading, a compelling rethinking of both postcolonial theory and transnational feminism. A richly poetic lament for the things that fall away, it dares still to descry in cast-aside affect and in occluded practices resources for the difficult labor of living otherwise.”—David Lloyd, author of Irish Times: Temporalities of ModernityTable of ContentsAcknowledgments vii Introduction: Loosed Upon the World 1 Part I. Feminization 1. Prostituted Filipinas and the Crisis of Philippine Culture 25 2. Women Alone 59 3. Poetics of Filipina Export 103 Part II. Urbanization 4. Modern Refuse in the "City of Man" 143 5. Petty Adventures in (the Nation's) Capital 183 6. Metropolitan Debris 217 Part III. Revolution 7. Revolutionary Imagination and the Masses 265 8. Guerilla Passion and the Unfinished Cultural Revolution 299 9. The Sorrows of People 333 Notes 379 Bibliography 445 Index 469

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Book SynopsisAn argument that subaltern experiences that are devalued and overlooked in progressive late-twentieth-century Philippine literature have been essential to the social and economic changes wrought by globalization.Trade Review“Things Fall Away is a major theoretical statement about contemporary forms of world making. In this brilliant and poetic book, Neferti Tadiar works through the dilemmas of our time—transnational labor flows, urban disorder, lost hopes for progressive change, new hopes for self-expression—to return feminist theory to center stage in our understanding of the global political economy.”—Anna Lowenhaupt Tsing, author of Friction: An Ethnography of Global Connection“Things Fall Away is a remarkable achievement. It is a work of considerable scope, full of penetrating insights and urgent critiques. It brings to the surface an entire literary history that very few know about in the West: a literary history that speaks volumes about the conditions of modernity in various parts of the world.”—Vicente L. Rafael, author of The Promise of the Foreign: Nationalism and the Technics of Translation in the Spanish Philippines“The study of the Philippines, one of Europe’s earliest and the US’s first colonies, obliges the rethinking of colonial histories. In the growing body of crucial work on the Philippines, Neferti X. M. Tadiar’s Things Fall Away is indispensable reading, a compelling rethinking of both postcolonial theory and transnational feminism. A richly poetic lament for the things that fall away, it dares still to descry in cast-aside affect and in occluded practices resources for the difficult labor of living otherwise.”—David Lloyd, author of Irish Times: Temporalities of ModernityTable of ContentsAcknowledgments vii Introduction: Loosed Upon the World 1 Part I. Feminization 1. Prostituted Filipinas and the Crisis of Philippine Culture 25 2. Women Alone 59 3. Poetics of Filipina Export 103 Part II. Urbanization 4. Modern Refuse in the "City of Man" 143 5. Petty Adventures in (the Nation's) Capital 183 6. Metropolitan Debris 217 Part III. Revolution 7. Revolutionary Imagination and the Masses 265 8. Guerilla Passion and the Unfinished Cultural Revolution 299 9. The Sorrows of People 333 Notes 379 Bibliography 445 Index 469

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Book SynopsisArgues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple 'immiscible' temporalities that strain against homogeneous time.Trade Review“Translating Time is vital, fresh, expansive, and exciting. A strikingly sophisticated thinker, Bliss Cua Lim argues that a linear and progressive understanding of historical time, and its practice of history and history-writing, domesticates other times into a manageable past marked as retrograde, primitive, and naïve. Lim denaturalizes such an understanding by bringing to the fore films (and traditions of storytelling on which films are based) that depend on nonsynchonous histories. Her book will have readers far beyond the field of cinema studies, and it will push that field toward new and crucial questions.”—Amy Villarejo, author of Lesbian Rule: Cultural Criticism and the Value of Desire“Translating Time will set a new standard in cinema studies. It is not only deeply philosophical, bringing a much-needed postcolonial critique of historicism to cinema studies, but also a learned study of Asian, and especially Filipino, cinema in the context of postcoloniality and globalization. I learned an enormous amount from this book. It is quite an achievement.”—David L. Eng, author of Racial Castration: Managing Masculinity in Asian America“Bliss Cua Lim’s extends ideas about the uncanny, the fantastic and the genre we usually call the horror film beyond its usual references to Hollywood and European cinema, which is fully welcome in this new era of global cinema. But it does much more than that. Her consideration of the uncanny and fantastic open up the profoundly untimely nature of fantasy films—and new possibilities for conceiving of the history of cinema.”—Tom Gunning, author of The Films of Fritz Lang: Allegories of Vision and Modernity“[Translating Time] is an engaging book that significantly extends the study of cinema and time through an analysis of Asian horror films. What is particularly clever about the book is the way Bliss Cua Lim’s exploration of the cinema of the fantastic extends beyond film studies out to philosophy and postcolonial theory through a concept of time as heterogeneous and non-linear.” -- Teresa Rizzo * Media International Australia *“From my perspective, Bliss Cua Lim’s Translating Time is one of the most exciting contributions to film studies in a while, and a welcome addition to the growing number of Asian horror/ghost/fantastic film genre analyses. Yet it is so much more, because it is also an ambitious intervention in the literature on film and time. . . . Translating Time is an important challenge to certain ways of understanding duration. . . . It is therefore a ‘must-read’ for film scholars of all sorts, not only those us interested in Asian cinema. . . . Any work committed to understanding cinema as an art of time would do well to take on board Lim’s insights.” -- Chris Berry * Screen *“Lim's culturally specific readings of ‘fantastic’ Asian film make for a wholly original way to talk about cinema's temporal ontology. Summing Up: Recommended. Lower-division undergraduates and above.” -- S. C. Dillon * Choice *“One of the remarkable aspects of Lim’s research as a film scholar is her breadth of knowledge in philosophy, history and cultural studies—all of which she brings to bear on cinema. While Lim draws on a wide swath of film research, she uses it to totally original ends. . . . Lim’s deep, thoroughly researched, and intelligent book attests to her creativity and originality. She brings a wide range of theories to bear on her chosen cinematic mode of the fantastic, and in the process illuminates problems of time, colonialism, postcolonialism, film genre, and the global reach of Hollywood’s cinematic industry machine.” -- E. Ann Kaplan * Cinema Journal *Table of ContentsList of Illustrations ix Acknowledgments xi Introduction. Clocks for Seeing: Cinema, the Fantastic, and the Critique of Homogeneous Time 1 1. Two Modes of Temporal Critique: Bergonism and Postcolonial Thought 43 2. The Fantastic as Temporal Translation: Aswang and Occult National Times 96 3. Spectral Time, Heterogeneous Space: The Ghost Film as Historical Allegory 149 4. The Ghostliness of Genre: Global Hollywood Remakes the "Asian Horror Film" 190 Epilogue. Writing within Time's Compass: From Epistemologies to Ontologies 245 Notes 253 Bibliography 305 Index 323

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Book SynopsisA generously illustrated ethnography arguing that popular photographic practices have played a crucial role in the making of modern national subjects in postcolonial Java.Trade Review“This is a heavy book to hold in one’s hands, printed on glossy paper, with hundreds of photographs, for a really good price, an album of modern Indonesian history, from the 1900s to 2000s; and, as one turns the pages, first quickly and then increasingly slowly, the book is full of wonderful writing. . . . Strassler’s book is extraordinary.” - Rudolf Mrázek, Journal of Asian Studies“Refracted Visions is an innovative and inspiring book because it demonstrates eloquently how people in urban Java started to participatein national modernity through photography. . . . [T]his highly original and well written book, with no fewer than 127 telling illustrations, is a landmark in the anthropology of visuality. . . . Refracted Visions is, in my view, a strong candidate to win prestigious academic prizes.” - Henk Schulte Nordholt, Asian Studies Review“In conclusion, the main contribution of Refracted Visions lies in its conceptualization of popular photographs as exceeding the private domain and engaging with collective aspirations and affiliations in ways that both support and subvert them. This point should be taken as a caution against the common display of photographs of late colonial and early postcolonial Asia to evoke nostalgia for a depoliticized, aestheticized past that never was.” - Maurizio Peleggi, Pacific Affairs“. . . [N]ot only an in-depth study of ethnic Chinese in Indonesian photographic history, but a beautifully written historical study of visuality, representation and the cultural significance of popular photography in the context of colonial and post-colonial Java.” - Charlotte Setijadi-Dunn, Inside Indonesia“Refracted Visions is a tour de force. Karen Strassler has a sophisticated grasp of contemporary theories of representation in both anthropology and photography studies, a deep and carefully attentive ethnographic eye, and a refined aesthetic sensibility. She limns the boundary between new historicist cultural studies and old fashioned anthropology with uncommon grace.”—Rosalind C. Morris, editor of Photographies East: The Camera and Its Histories in East and Southeast Asia“Refracted Visions is a genuinely marvelous work which merits reading and rereading.”—John Pemberton, author of On the Subject of “Java”“Refracted Visions is a truly brilliant piece of work, beautifully written and characterized by a profound learning and engagement with Indonesian ethnography and a range of debates around visuality and representation. It will be hailed as a classic.”—Christopher Pinney, author of The Coming of Photography in India“. . . [N]ot only an in-depth study of ethnic Chinese in Indonesian photographic history, but a beautifully written historical study of visuality, representation and the cultural significance of popular photography in the context of colonial and post-colonial Java.” -- Charlotte Setijadi-Dunn * Inside Indonesia *“Refracted Visions is an innovative and inspiring book because it demonstrates eloquently how people in urban Java started to participatein national modernity through photography. . . . [T]his highly original and well written book, with no fewer than 127 telling illustrations, is a landmark in the anthropology of visuality. . . . Refracted Visions is, in my view, a strong candidate to win prestigious academic prizes.” -- Henk Schulte Nordholt * Asian Studies Review *“In conclusion, the main contribution of Refracted Visions lies in its conceptualization of popular photographs as exceeding the private domain and engaging with collective aspirations and affiliations in ways that both support and subvert them. This point should be taken as a caution against the common display of photographs of late colonial and early postcolonial Asia to evoke nostalgia for a depoliticized, aestheticized past that never was.” -- Maurizio Peleggi * Pacific Affairs *“This is a heavy book to hold in one’s hands, printed on glossy paper, with hundreds of photographs, for a really good price, an album of modern Indonesian history, from the 1900s to 2000s; and, as one turns the pages, first quickly and then increasingly slowly, the book is full of wonderful writing. . . . Strassler’s book is extraordinary.” -- Rudolf Mrázek * Journal of Asian Studies *Table of ContentsIllustrations ix Preface xiii Acknowledgments xvii Note on Orthography and Psedudonyms xxi Introduction: Popular Photography and Indonesian National Modernity 1 1. Amateur Visions 29 2. Landscapes of the Imagination 73 3. Identifying Citizens 123 4. Family Documentation 165 5. Witnessing History 207 6. Revelatory Signs 251 Epilogue: Beyond the Paper Trace 295 Notes 301 Bibliography 345 Index 363

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Book SynopsisA generously illustrated ethnography arguing that popular photographic practices have played a crucial role in the making of modern national subjects in postcolonial Java.Trade Review“This is a heavy book to hold in one’s hands, printed on glossy paper, with hundreds of photographs, for a really good price, an album of modern Indonesian history, from the 1900s to 2000s; and, as one turns the pages, first quickly and then increasingly slowly, the book is full of wonderful writing. . . . Strassler’s book is extraordinary.” - Rudolf Mrázek, Journal of Asian Studies“Refracted Visions is an innovative and inspiring book because it demonstrates eloquently how people in urban Java started to participatein national modernity through photography. . . . [T]his highly original and well written book, with no fewer than 127 telling illustrations, is a landmark in the anthropology of visuality. . . . Refracted Visions is, in my view, a strong candidate to win prestigious academic prizes.” - Henk Schulte Nordholt, Asian Studies Review“In conclusion, the main contribution of Refracted Visions lies in its conceptualization of popular photographs as exceeding the private domain and engaging with collective aspirations and affiliations in ways that both support and subvert them. This point should be taken as a caution against the common display of photographs of late colonial and early postcolonial Asia to evoke nostalgia for a depoliticized, aestheticized past that never was.” - Maurizio Peleggi, Pacific Affairs“. . . [N]ot only an in-depth study of ethnic Chinese in Indonesian photographic history, but a beautifully written historical study of visuality, representation and the cultural significance of popular photography in the context of colonial and post-colonial Java.” - Charlotte Setijadi-Dunn, Inside Indonesia“Refracted Visions is a tour de force. Karen Strassler has a sophisticated grasp of contemporary theories of representation in both anthropology and photography studies, a deep and carefully attentive ethnographic eye, and a refined aesthetic sensibility. She limns the boundary between new historicist cultural studies and old fashioned anthropology with uncommon grace.”—Rosalind C. Morris, editor of Photographies East: The Camera and Its Histories in East and Southeast Asia“Refracted Visions is a genuinely marvelous work which merits reading and rereading.”—John Pemberton, author of On the Subject of “Java”“Refracted Visions is a truly brilliant piece of work, beautifully written and characterized by a profound learning and engagement with Indonesian ethnography and a range of debates around visuality and representation. It will be hailed as a classic.”—Christopher Pinney, author of The Coming of Photography in India“. . . [N]ot only an in-depth study of ethnic Chinese in Indonesian photographic history, but a beautifully written historical study of visuality, representation and the cultural significance of popular photography in the context of colonial and post-colonial Java.” -- Charlotte Setijadi-Dunn * Inside Indonesia *“Refracted Visions is an innovative and inspiring book because it demonstrates eloquently how people in urban Java started to participatein national modernity through photography. . . . [T]his highly original and well written book, with no fewer than 127 telling illustrations, is a landmark in the anthropology of visuality. . . . Refracted Visions is, in my view, a strong candidate to win prestigious academic prizes.” -- Henk Schulte Nordholt * Asian Studies Review *“In conclusion, the main contribution of Refracted Visions lies in its conceptualization of popular photographs as exceeding the private domain and engaging with collective aspirations and affiliations in ways that both support and subvert them. This point should be taken as a caution against the common display of photographs of late colonial and early postcolonial Asia to evoke nostalgia for a depoliticized, aestheticized past that never was.” -- Maurizio Peleggi * Pacific Affairs *“This is a heavy book to hold in one’s hands, printed on glossy paper, with hundreds of photographs, for a really good price, an album of modern Indonesian history, from the 1900s to 2000s; and, as one turns the pages, first quickly and then increasingly slowly, the book is full of wonderful writing. . . . Strassler’s book is extraordinary.” -- Rudolf Mrázek * Journal of Asian Studies *Table of ContentsIllustrations ix Preface xiii Acknowledgments xvii Note on Orthography and Psedudonyms xxi Introduction: Popular Photography and Indonesian National Modernity 1 1. Amateur Visions 29 2. Landscapes of the Imagination 73 3. Identifying Citizens 123 4. Family Documentation 165 5. Witnessing History 207 6. Revelatory Signs 251 Epilogue: Beyond the Paper Trace 295 Notes 301 Bibliography 345 Index 363

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Book SynopsisAn exploration of the connections between the urban built environment (primarily in Jakarta) and political consciousness in Indonesia during the colonial and postcolonial eras.Trade Review“[U]nique and engaging. . . . [M]akes a considerable contribution to the discourse on ‘memory’ in architecture and urban studies, and in particular to broadening the understanding – and reading – of urban space within postcolonial nations.” - Shenuka de Sylva, Asia Pacific Viewpoint“[Kusno] provides a brilliant diachronic cartography of different architectural and urban elements in contemporary Jakarta and their connection to or disjuncture from the past. . . . [T]his is an exceptional and truly enjoyable book, a good companion to the author’s previous book, Behind the Postcolonial (2000).” - Eduardo Ascensão, Planning Perspectives“[T]he essays are well-designed, their themes are carefully developed, and there is ample evidence to give credence to the conclusions that are drawn. The essays are scholarly, unambiguous, and meaningful to the reader. The use of examples from architecture are well-chosen and make the collection an especially good representative of this genre. The author’s two major themes. . .are a strong contribution to the scholarly literature on the history and architecture of Java. . . . [T]he work is well done and worth reading.” - Howard M. Federspiel, Indonesia“This fine book has its origins in a series of essays published in the aftermath of the May 1998 rioting in Jakarta and the birth of the post-Suharto era, theproduct of the so-called reformasi. . . . Photos and line drawings featureamong some 60 illustrations, and there is a comprehensive bibliography, which includes, as might be expected, Indonesian and Dutch works. . . . Iwould highly recommend this book overall. . .” - John P. Lea, Architectural Science Review“The Appearance of Memory is very much a revisionist work that deftly manages a plethora of knowledge and detail about the Indonesian city to provide new insight into its dynamics. The book is full of pithy summations that deftly capture well developed themes in Indonesian sociological studies, but, more importantly, it contextualizes these themes through insightful analysis of architectural forms.” - Robbie Peters, Oceania"This…book demonstrates deep theoretical reflection on a number of different issues around the theme of memory as they are inscribed in material and spatial phenomena…. [Kusno] exposes social challenges that Asian nations deliberately suppress and architectural/urban studies rarely acknowledge." - Anoma Pieris, Comparative Studies in Society and History“The Appearances of Memory offers fresh perspectives and intriguing analyses of the political culture of Indonesia as expressed through architecture, development, spatial relationships, and other facets of urban development in the colonial and national periods. It is further evidence of Abidin Kusno’s unique capacity to probe the inner life of Indonesia’s distinct political culture and to connect it to the structures that give it meaning.”—Christopher Silver, author of Planning the Megacity: Jakarta in the Twentieth Century“I have always felt that we in Indonesia studies have been unusually lucky in having people thinking at the brink of the discipline, pushing the boundaries of the field. Abidin Kusno is one of those people. The Appearances of Memory is an extraordinary book.”—Rudolf Mrázek, author of A Certain Age: Colonial Jakarta through the Memories of Its Intellectuals“The Appearance of Memory is very much a revisionist work that deftly manages a plethora of knowledge and detail about the Indonesian city to provide new insight into its dynamics. The book is full of pithy summations that deftly capture well developed themes in Indonesian sociological studies, but, more importantly, it contextualizes these themes through insightful analysis of architectural forms.” -- Robbie Peters * Oceania *“[Kusno] provides a brilliant diachronic cartography of different architectural and urban elements in contemporary Jakarta and their connection to or disjuncture from the past. . . . [T]his is an exceptional and truly enjoyable book, a good companion to the author’s previous book, Behind the Postcolonial (2000).” -- Eduardo Ascensão * Planning Perspectives *“[T]he essays are well-designed, their themes are carefully developed, and there is ample evidence to give credence to the conclusions that are drawn. The essays are scholarly, unambiguous, and meaningful to the reader. The use of examples from architecture are well-chosen and make the collection an especially good representative of this genre. The author’s two major themes. . .are a strong contribution to the scholarly literature on the history and architecture of Java. . . . [T]he work is well done and worth reading.” -- Howard M. Federspiel * Indonesia *“[U]nique and engaging. . . . [M]akes a considerable contribution to the discourse on ‘memory’ in architecture and urban studies, and in particular to broadening the understanding – and reading – of urban space within postcolonial nations.” -- Shenuka de Sylva * Asia Pacific Viewpoint *“This fine book has its origins in a series of essays published in the aftermath of the May 1998 rioting in Jakarta and the birth of the post-Suharto era, the product of the so-called reformasi. . . . Photos and line drawings feature among some 60 illustrations, and there is a comprehensive bibliography, which includes, as might be expected, Indonesian and Dutch works. . . . I would highly recommend this book overall. . .” -- John P. Lea * Architectural Science Review *"This…book demonstrates deep theoretical reflection on a number of different issues around the theme of memory as they are inscribed in material and spatial phenomena…. [Kusno] exposes social challenges that Asian nations deliberately suppress and architectural/urban studies rarely acknowledge." -- Anoma Pieris * Comparative Studies in Society and History *Table of ContentsIllustrations ix Acknowledgments xiii Introduction 1 Governmentality 1. Whither Nationalist Urbanism? Public Life in Governor Sutiyoso's Jakarta 25 2. The Regime, the Busway, and the Construction of Urban Subjects in an Indonesian Metropolis 49 3. "Back to the City": Urban Architecture in the New Indonesia 71 Remembering and Forgetting 4. Glodok on Our Minds: Chinese Culture and the Forgetting of the May Riots 101 5. The Afterlife of the Empire Style, Indische Architectuur, and Art Deco 125 Reminiscences 6. Colonial Cities in Motion: Urban Symbolism and Popular Radicalism 155 7. Urban Pedagogy: The Appearance of Order and Normality in Late Colonial Java, 1926–42 182 Mental Nebulae 8. "The Reality of One-Which-Is-Two": Java's Reception of Global Islam 203 9. Guardian of Memories: The Gardu in Urban Java 223 Notes 279 Bibliography 313 Index 327

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Book SynopsisA history of book production and consumption in Japan showing how the Tokyo-based publishing industry manufactured the very concept of modern Japanese literature.Trade Review“This book is a must read book for people who are studying about Japanese literature or people interested to know more about the birth of the modern Japanese publishing industry. The author researched the subject thoroughly and gives us deep understanding of how the Japanese modern literature was born. . . . [I]t is very enjoyable to read. Even each footnote is packed with insightful details that give more vivid picture of the ‘manufacturing’ process of modern literature. It is an excellent and unique English language resource for an important period of Japan’s literature history.” - Naoko Maeda Rodolitz, Publishing Research Quarterly“. . . thoughtful and careful. . . . [A]n . . . excellent work of scholarship which pulls together analytical strands from print culture and literature and offers a meaningful contribution to English-language scholarship. I heartily recommend it.” - Andrew Kamei-Dyche, SHARP News“Manufacturing Modern Japanese Literature provides a compelling sociological critique of the institution of literature in early twentieth-century Japan. . . . The problems Mack deals with in Manufacturing Modern Japanese Literature remain urgent concerns today, and his compelling study gives us some of the tools we need to grapple with them effectively.” - Michael K. Bourdaghs, Journal of Japanese Studies“Edward Mack pulls the Japanese literary field out of the regressive myth of autonomous art and into the realms of social discourse and material practice. He compels us to reconsider the role of literary production and publishing in constructing concepts of cultural authority, national identity, and empire. Manufacturing Modern Japanese Literature is a rich, rewarding work.”—Ann Sherif, author of Japan’s Cold War: Media, Literature, and the Law“Manufacturing Modern Japanese Literature provides a compelling sociological critique of the institution of literature in early twentieth-century Japan. . . . The problems Mack deals with in Manufacturing Modern Japanese Literature remain urgent concerns today, and his compelling study gives us some of the tools we need to grapple with them effectively.” -- Michael K. Bourdaghs * Journal of Japanese Studies *“This book is a must read book for people who are studying about Japanese literature or people interested to know more about the birth of the modern Japanese publishing industry. The author researched the subject thoroughly and gives us deep understanding of how the Japanese modern literature was born. . . . [I]t is very enjoyable to read. Even each footnote is packed with insightful details that give more vivid picture of the ‘manufacturing’ process of modern literature. It is an excellent and unique English language resource for an important period of Japan’s literature history.” -- Naoko Maeda Rodolitz * Publishing Research Quarterly *"Manufacturing Modern Japanese Literature contributes to deepening our knowledge and understanding of modern Japanese literature in two equally significant ways: on the one hand, it provides a wonderfully detailed study of two of the most powerful mechanisms for ascribing literary value in modern Japan; more generally, it reminds us that behind the discursive superstructure we call 'modern' 'Japanese' 'literature' there is a material base that needs to be studied, if we are to arrive at a historically-sound understanding of these concepts." -- Gian-Piero Persiani * East Asian Publishing and Society *Table of ContentsAcknowledgments ix Introduction: Publishing and the Creation of an Alternative Economy of Value 1 1. Modernity as Rupture: The Concentration of Print Capital 17 2. The Stability of the Center: Tokyo Publishing and the Great Kanto Earthquake 51 3. The Static Canon: Kaizosha's Complete Works of Contemporary Japanese Literature 91 4. Defining and Defending Literary Value: Debates, 1919–1935 139 5. The Dynamic Canon: The Akutagawa and Naoki Prizes for Literature 181 Epilogue 223 Appendix 237 Notes 243 Works Cited 297 Index 311

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Book SynopsisA history of book production and consumption in Japan showing how the Tokyo-based publishing industry manufactured the very concept of modern Japanese literature.Trade Review“This book is a must read book for people who are studying about Japanese literature or people interested to know more about the birth of the modern Japanese publishing industry. The author researched the subject thoroughly and gives us deep understanding of how the Japanese modern literature was born. . . . [I]t is very enjoyable to read. Even each footnote is packed with insightful details that give more vivid picture of the ‘manufacturing’ process of modern literature. It is an excellent and unique English language resource for an important period of Japan’s literature history.” - Naoko Maeda Rodolitz, Publishing Research Quarterly“. . . thoughtful and careful. . . . [A]n . . . excellent work of scholarship which pulls together analytical strands from print culture and literature and offers a meaningful contribution to English-language scholarship. I heartily recommend it.” - Andrew Kamei-Dyche, SHARP News“Manufacturing Modern Japanese Literature provides a compelling sociological critique of the institution of literature in early twentieth-century Japan. . . . The problems Mack deals with in Manufacturing Modern Japanese Literature remain urgent concerns today, and his compelling study gives us some of the tools we need to grapple with them effectively.” - Michael K. Bourdaghs, Journal of Japanese Studies“Edward Mack pulls the Japanese literary field out of the regressive myth of autonomous art and into the realms of social discourse and material practice. He compels us to reconsider the role of literary production and publishing in constructing concepts of cultural authority, national identity, and empire. Manufacturing Modern Japanese Literature is a rich, rewarding work.”—Ann Sherif, author of Japan’s Cold War: Media, Literature, and the Law“Manufacturing Modern Japanese Literature provides a compelling sociological critique of the institution of literature in early twentieth-century Japan. . . . The problems Mack deals with in Manufacturing Modern Japanese Literature remain urgent concerns today, and his compelling study gives us some of the tools we need to grapple with them effectively.” -- Michael K. Bourdaghs * Journal of Japanese Studies *“This book is a must read book for people who are studying about Japanese literature or people interested to know more about the birth of the modern Japanese publishing industry. The author researched the subject thoroughly and gives us deep understanding of how the Japanese modern literature was born. . . . [I]t is very enjoyable to read. Even each footnote is packed with insightful details that give more vivid picture of the ‘manufacturing’ process of modern literature. It is an excellent and unique English language resource for an important period of Japan’s literature history.” -- Naoko Maeda Rodolitz * Publishing Research Quarterly *"Manufacturing Modern Japanese Literature contributes to deepening our knowledge and understanding of modern Japanese literature in two equally significant ways: on the one hand, it provides a wonderfully detailed study of two of the most powerful mechanisms for ascribing literary value in modern Japan; more generally, it reminds us that behind the discursive superstructure we call 'modern' 'Japanese' 'literature' there is a material base that needs to be studied, if we are to arrive at a historically-sound understanding of these concepts." -- Gian-Piero Persiani * East Asian Publishing and Society *Table of ContentsAcknowledgments ix Introduction: Publishing and the Creation of an Alternative Economy of Value 1 1. Modernity as Rupture: The Concentration of Print Capital 17 2. The Stability of the Center: Tokyo Publishing and the Great Kanto Earthquake 51 3. The Static Canon: Kaizosha's Complete Works of Contemporary Japanese Literature 91 4. Defining and Defending Literary Value: Debates, 1919–1935 139 5. The Dynamic Canon: The Akutagawa and Naoki Prizes for Literature 181 Epilogue 223 Appendix 237 Notes 243 Works Cited 297 Index 311

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Book SynopsisExplores the cultural significance of the explosive growth of Chinas cities during the past three decades through interpretations of Chinese fiction, cinema, visual art, architecture, and urban design.Trade Review“[T]his book is a strong intervention in our understanding of the key contributors to the urban art scene, and to formations of critique in China’s cities.” - Stephanie Hemelryk Donald, The China Quarterly“This is an important study of a global issue which applies particularly to China in this period of unprecedented development: how to manage and ‘survive’ in the cities as they expand and modernise.” - Michael Sheringham, Asian Affairs“[A] timely and valuable study. . . . [It] will be an indispensable guide for students and scholars of contemporary Chinese urban culture.” - Andrew Jones, Journal of Asian Studies“Visser’s study develops a new perspective on critical inquiry and urban culture in the postsocialist period by situating them within the tension between place and space in a rapidly changing urban environment.” - Alexander F. Day, H-Urban, H-Net Reviews“[I]lluminating and rich in material. . . . Visser’s account of changing urban planning, especially the aesthetics of planning, is fascinating. . . . The bookmakes an important contribution to the contemporary cultural studies in China.” - Fulong Wu, Asia Pacific Viewpoint“Cities Surround the Countryside is a truly exceptional book. Robin Visser has identified crucial issues that are nothing short of constitutive of urbanization and its reflections in the intellectual and cultural life of contemporary China. In addition, she deals with an impressive amount of material from various disciplines and media, much of which is little-known in English-language scholarship.”—Maghiel van Crevel, author of Chinese Poetry in Times of Mind, Mayhem and Money“Cities Surround the Countryside is about everything important in contemporary China. In sensitive critical readings of everything from buildings and squares to artworks and short stories, from the literature of urbanism to the media of advertising, Robin Visser traces the emergence of a new urban self-consciousness. With its thorough scholarship and deft approach to text analysis, the book goes beyond the humanities to be a major contribution to Asian studies and urban studies, anthropology and history.”—Judith Farquhar, author of Appetites: Food and Sex in Post-Socialist China“[A] timely and valuable study. . . . [It] will be an indispensable guide for students and scholars of contemporary Chinese urban culture.” -- Andrew Jones * Journal of Asian Studies *“[I]lluminating and rich in material. . . . Visser’s account of changing urban planning, especially the aesthetics of planning, is fascinating. . . . The book makes an important contribution to the contemporary cultural studies in China.” -- Fulong Wu * Asia Pacific Viewpoint *“[T]his book is a strong intervention in our understanding of the key contributors to the urban art scene, and to formations of critique in China’s cities.” -- Stephanie Hemelryk Donald * The China Quarterly *“This is an important study of a global issue which applies particularly to China in this period of unprecedented development: how to manage and ‘survive’ in the cities as they expand and modernise.” -- Michael Sheringham * Asian Affairs *“Visser’s study develops a new perspective on critical inquiry and urban culture in the postsocialist period by situating them within the tension between place and space in a rapidly changing urban environment.” -- Alexander F. Day H-Urban * H-Net Reviews *“For a brilliant discussion of artistic insubordination in reaction to urban modernity in literature, performance and art, I keenly recommend Robin Visser’s Cities Surround the Countryside.” -- Michael Sorkin * The Nation *Table of ContentsAcknowledgments ix Introduction: Cities Surround the Countryside 1 Part One. Conceiving the Postsocialist City 1. Designing the Postsocialist City: Urban Planning and Its Discontents 27 2. Theorizing the Postsocialist City: Cultural Politics of Urban Aesthetics 85 Part Two. The City as Subject 3. Performing the Postsocialist City: Beijing Identity in Art, Film, and Fiction 131 4. Consuming the Postsocialist City: Shanghai Identity in Art, Film, and Fiction 175 Part Three. The Subject in the City 5. The Melancholic Urban Subject: Black Snow, Private Life, Breathing, and Candy 225 6. Postsocialist Urban Ethics: Modernity and the Morality of Everyday Life 255 Conclusion: Sustainable Chinese Aesthetics 287 Notes 295 Bibliography 331 Index 353

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Book SynopsisMonumental Matters analyzes the role of Mughal architecture—magnificent tombs, mosques, forts, and palaces, such as the Taj Mahal—in Indias cultural politics from the colonial era to the present.Trade Review“Kavuri-Bauer’s study has implications for understanding public space and monuments generally—and the profound changes they may undergo. In this sense, her research has relevance beyond India. She raises broad interpretive issues, given an overall approach that implicitly queries notions of the invention of tradition through an analysis that privileges the accretion of change rather than any deliberate constructing of tradition.” - Jim Masselos, American Historical Review“Monumental Matters is a novel and incisive account of the ongoing reconceptualization of India’s Mughal monuments since the colonial era. Santhi Kavuri-Bauer reaches far beyond architectural and art historical scholarship to probe a range of larger political, ideological, and historical processes that have impinged on the modern life of India’s monumental spaces. She examines processes ranging from travel, landscape painting, and archaeological surveys in colonial India to state planning, tourism, and the cultural politics of a more recent era.”—Tapati Guha-Thakurta, author of Monuments, Objects, Histories: Institutions of Art in Colonial and Postcolonial India“Santhi Kavuri-Bauer’s Monumental Matters is an original and innovative study that historians, students of architecture and nationalism, and scholars of place and space will seek out and profit from.”—Antoinette Burton, author of Empire in Question: Reading, Writing, and Teaching British Imperialism“Kavuri-Bauer’s study has implications for understanding public space and monuments generally—and the profound changes they may undergo. In this sense, her research has relevance beyond India. She raises broad interpretive issues, given an overall approach that implicitly queries notions of the invention of tradition through an analysis that privileges the accretion of change rather than any deliberate constructing of tradition.” -- Jim Masselos * American Historical Review *"[A] novel addition in Indian historical discourse due to its interdisciplinary approach and fresh perspective." -- Fouzia Farooq * Islamic Studies *"Monumental Matters successfully weaves diverse sources and personal voices into a rich study of the afterlives of India’s Mughal monuments. This important work illustrates why Mughal monuments matter... With its seamless incorporation of diverse methodologies and theories, this provocative, dense book will contribute to disciplines beyond art history, including history, urban planning, religious studies, anthropology, and more." -- Melia Belli * CAA Reviews *"Rich and insightful ... Monumental Matters is a welcome addition to the burgeoning literature on the 'afterlife' of objects and buildings and their entanglements with the discursive trajectories of nationalism and globalization." -- Madhuri Desai * Journal of Asian Studies *Table of ContentsAcknowledgments ix Introduction 1 1. Breathing New Life into Old Stones: The Poets and Artists of the Mughal Monument in the Eighteenth Century 19 2. From Cunningham to Curzon: Producing the Mughal Monument in the Era of High Imperialism 49 3. Between Fantasy and Phantasmagoria: The Mughal Monument and the Structure of Touristic Desire 76 4. Rebuilding Indian Muslim Space from the Ruins of the Mughal "Moral City" 95 5. Tryst with Destiny: Nehru's and Gandhi's Mighal Monuments 127 6. The Ethics of Monumentality in Postindependence India 145 Epilogue 170 Notes 179 Bibliography 197 Index

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Book SynopsisDuring the 1960s, a group of artists challenged the status quo in Japan through interventionist art. William Mariotti situates the artists in relation to postwar Japan and the international activism of the 1960s.Trade Review“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 Reviews *“[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 *Table of ContentsAcknowledgments ix Chronology of Select Events xiii Introduction 1 Part I. Art against the Police: Akasegawa Genpei's 1,000-Yen Prints, the State, and the Borders of the Everyday 9 1. The Vision of the Police 15 2. The Occupation, the New Emperor System, and the Figure of Japan 37 3. The Process of Art 74 Part II. Artistic Practice Finds Its Object: The Avant-Garde and the Yomiuri Indépendant 111 4. The Yomiuri Indépendant: Making and Displacing History 117 5. The Yomiuri Anpan 152 Part III. Theorizing Art and Revolution 201 6. Beyond the Guillotine: Speaking of Art / Art Speaking 207 7. Naming the Real 245 8. The Moment of the Avant-Garde 284 Epilogue 317 Notes 319 Select Bibliography 393 Index 405

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Book SynopsisDuring the 1960s, a group of artists challenged the status quo in Japan through interventionist art. William Mariotti situates the artists in relation to postwar Japan and the international activism of the 1960s.Trade Review“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 Reviews *“[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 *Table of ContentsAcknowledgments ix Chronology of Select Events xiii Introduction 1 Part I. Art against the Police: Akasegawa Genpei's 1,000-Yen Prints, the State, and the Borders of the Everyday 9 1. The Vision of the Police 15 2. The Occupation, the New Emperor System, and the Figure of Japan 37 3. The Process of Art 74 Part II. Artistic Practice Finds Its Object: The Avant-Garde and the Yomiuri Indépendant 111 4. The Yomiuri Indépendant: Making and Displacing History 117 5. The Yomiuri Anpan 152 Part III. Theorizing Art and Revolution 201 6. Beyond the Guillotine: Speaking of Art / Art Speaking 207 7. Naming the Real 245 8. The Moment of the Avant-Garde 284 Epilogue 317 Notes 319 Select Bibliography 393 Index 405

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Book SynopsisA textual account of the hallyu (Korean wave) films popular internationally, especially in Asia, from the late 1990s until 200708.Trade Review“A highly informative and imaginative account of the multifaceted powers of virtuality that make up the unique phenomenon of Korean cinema in the early twenty-first century.”—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films“Coming close on the heels of The Remasculinization of Korean Cinema, his seminal analysis of the psychic and political foundations of the New Korean Cinema of the 1990s, Kyung Hyun Kim has now produced the essential text on hallyu, the phase of Korean cinema and related forms of popular culture that became a global sensation in the first decade of the new millennium. Bringing key Deleuzian concepts into focus with sensitive and nuanced readings of international blockbusters, including The Host (Bong Joon-ho) and Oldboy (Park Chan-wook), as well as the work of notable art-cinema auteurs, Kim establishes himself as not just the most important Anglophone critic of South Korean cinema but a key figure in film and cultural studies generally.”—David E. James, author of The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles“[A]n impressive work. The book is timely without being trite or merely fashionable and it contains a number of significant theoretical and local insights into the global present without being uselessly obscure to the general reader. Kim’s incisive close readings of widely known South Korean productions (The Host, Old Boy, Secret Sunshine, etc.), as well as the potential to discover new titles, make the book a pleasure to read and to revisit for those inside, outside, or in between Korean studies.” -- Travis Workman * Journal of Asian Studies *“[T]his is a book that needs to be read by anyone who is interested in the field [of Korean Cinema].” -- John Finch * Asian Studies Review *" . . . Kim's book is special in that every effort was exerted to select the most relevant topics and issues for readers in a comprehensive and sophisticated way. I would recommend this book because it is a well-written and detail-oriented account of Korean movies . . . As all chapters are very informative and engage in theoretical arguments that are not just descriptive, this book will be very useful to readers who really love Korean films or are film majors in graduate programs and would like to gain a comprehensive knowledge of Korean cinema." -- Sang Yee Cheon * Korean Studies *Table of ContentsForeword / Martin Scorsese ix Preface xi Introduction: Hallyu's Virtuality 1 1. Virtual Landscapes: Sopyonje, The Power of Kangwon Province, and The Host 23 2. Viral Colony: Spring of Korean Peninsula and Epitaph 55 3. Virtual Dictatorship: The President's Barber and The President's Last Bang 81 4. Mea Culpa: Reading the North Korean as an Ethnic Other 101 5. Hong Sang-soo's Death, Eroticism, and Virtual Nationalism 123 6. Virtual Trauma: Lee Chang-dong's Oasis and Secret Sunshine 152 7. Park Chan-wook's "Unknowable" Oldboy 178 8. The End of History, the Beginning of Historical Films Korea's New Sagük 200 Notes 213 Bibliography 235 Index 243

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Book SynopsisA textual account of the hallyu (Korean wave) films popular internationally, especially in Asia, from the late 1990s until 200708.Trade Review“A highly informative and imaginative account of the multifaceted powers of virtuality that make up the unique phenomenon of Korean cinema in the early twenty-first century.”—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films“Coming close on the heels of The Remasculinization of Korean Cinema, his seminal analysis of the psychic and political foundations of the New Korean Cinema of the 1990s, Kyung Hyun Kim has now produced the essential text on hallyu, the phase of Korean cinema and related forms of popular culture that became a global sensation in the first decade of the new millennium. Bringing key Deleuzian concepts into focus with sensitive and nuanced readings of international blockbusters, including The Host (Bong Joon-ho) and Oldboy (Park Chan-wook), as well as the work of notable art-cinema auteurs, Kim establishes himself as not just the most important Anglophone critic of South Korean cinema but a key figure in film and cultural studies generally.”—David E. James, author of The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles“[A]n impressive work. The book is timely without being trite or merely fashionable and it contains a number of significant theoretical and local insights into the global present without being uselessly obscure to the general reader. Kim’s incisive close readings of widely known South Korean productions (The Host, Old Boy, Secret Sunshine, etc.), as well as the potential to discover new titles, make the book a pleasure to read and to revisit for those inside, outside, or in between Korean studies.” -- Travis Workman * Journal of Asian Studies *“[T]his is a book that needs to be read by anyone who is interested in the field [of Korean Cinema].” -- John Finch * Asian Studies Review *" . . . Kim's book is special in that every effort was exerted to select the most relevant topics and issues for readers in a comprehensive and sophisticated way. I would recommend this book because it is a well-written and detail-oriented account of Korean movies . . . As all chapters are very informative and engage in theoretical arguments that are not just descriptive, this book will be very useful to readers who really love Korean films or are film majors in graduate programs and would like to gain a comprehensive knowledge of Korean cinema." -- Sang Yee Cheon * Korean Studies *Table of ContentsForeword / Martin Scorsese ix Preface xi Introduction: Hallyu's Virtuality 1 1. Virtual Landscapes: Sopyonje, The Power of Kangwon Province, and The Host 23 2. Viral Colony: Spring of Korean Peninsula and Epitaph 55 3. Virtual Dictatorship: The President's Barber and The President's Last Bang 81 4. Mea Culpa: Reading the North Korean as an Ethnic Other 101 5. Hong Sang-soo's Death, Eroticism, and Virtual Nationalism 123 6. Virtual Trauma: Lee Chang-dong's Oasis and Secret Sunshine 152 7. Park Chan-wook's "Unknowable" Oldboy 178 8. The End of History, the Beginning of Historical Films Korea's New Sagük 200 Notes 213 Bibliography 235 Index 243

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Book SynopsisProducing Bollywood is an in-depth ethnography of the Bombay-based Hindi film industry, more popularly known as Bollywood. Taking readers inside this hugely popular global industry, Tejaswini Ganti focuses on the social world and professional practices of well-known Hindi filmmakers.Trade Review"Tejaswini Ganti mines her extensive contacts in an industry generally closed-off to outsiders to provide us with in-depth analyses of the sensibilities, compulsions, and desires of important figures in the film industry, as well as the social practices of film production. Producing Bollywood provides unique insights into the forces that shape the production of films in one of the largest film industries in the world. By going beyond the hype surrounding 'Bollywood' and eschewing simplistic dismissals about escapism and the profit-making drive of Bollywood filmmakers, this book enables us to understand the cultural logics that shape the production of Bollywood film. Based on more than a decade of ethnographic fieldwork in multiple sites of film production, Producing Bollywood is truly a trailblazing work."—Purnima Mankekar, author of Screening Culture, Viewing Politics: An Ethnography of Television, Womanhood, and Nation in Postcolonial India"This is the first book on Bollywood to combine a deep knowledge of the dynamics of script, song, stars, and style in this cinematic world with an equally keen sense of the unique nature of the politics, finance, and cultural prejudices of the film industry. It will be an indispensable benchmark for all future studies of Bollywood and of similar cinematic industries worldwide, and it will interest media scholars, anthropologists, sociologists of culture, and the curious general reader."—Arjun Appadurai, New York University“In Producing Bollywood, the first truly comprehensive ethnographic account of the Mumbai-based film industry, Tejaswini Ganti crafts an ode to an India in deep transition, via the multifaceted lenses of a glamorized and iconic subsection of its Hindi-language filmmakers and actors. . . . [A] landmark study.” -- Ritesh Mehta * International Journal of Communication *“Producing Bollywood is a lucidly written and thoroughly researched ethnography of a film industry whose products are deeply interwoven in the ordinary life and politics of hundreds of millions of people.” -- Jonathan Shapiro Anjaria * American Ethnologist *“[O]ffers extraordinary insight into the production processes of the late 1990s…. [T]he thoroughness and comprehensive review of trends in this book must be highly commended.” -- Rodney Jensen * Media International Australia *“The book is rich in anthropological and historical data, theoretically astute, accessible, and great fun to read. It is a must for anyone interested in Bollywood or other film industries, and for scholars interested in the effects of neoliberalism and globalization in India. Highly recommended. Lower-division undergraduates through faculty; general readers.” -- L. M. Proctor * Choice *“Producing Bollywood is a riveting read. It draws carefully thought out connections between cultural formations, changing discourses of legitimacy and nation building. It is to Ganti’s credit that she is able to bring rigorous ethnographic tools to bear upon fieldwork materials put together over a decade and more.... Overall, this is a timely and much needed insight into the intersections of the political economy of production, consumption and legitimization of mass cultural products. It should interest readers and students of Mass Media, Film Studies, Culture Studies, South Asia, Anthropology and Ethnography.” -- Sushmita Banerji * Studies in South Asian Film & Media *“The book may be useful to anyone interested in sociology, anthropology, cinema, media, communication, cultural studies, development studies and other interdisciplinary fields. The book is indispensable for those who still use the terms Hindi cinema and Bollywood interchangeably and find it unproblematic.” -- K. V. Nagesh * Economic and Political Weekly *“Tejaswini Ganti’s Producing Bollywood is perhaps the most comprehensive and in-depth account of the Hindi film industry to date...Despite being 440 pages in length, Ganti’s accessible writing style makes this ethnography a joy to read.” -- Harjant S. Gill * Visual Anthropology Review *“Filled with first-hand accounts of the inner workings of the vast Mumbai-based Bollywood film industry collected through numerous interviews and extraordinarily extensive fieldwork undertaken over the course of more than a decade of research, Producing Bollywood meets a previously unfilled need on the part of those engaged in studying Indian cinema and culture by letting a large part of this varied and diverse industry speak, as it were, for itself.” -- Gabriel Shapiro * Contemporary South Asia *“Ganti’s book is a commendable pioneering initiative. It will be useful for students, researchers, and those interested in South Asian film studies.” -- Sanjukta Dasgupta * American Anthropologist *Table of ContentsAcknowledgments ix Introduction. How the Hindi Film Industry Became "Bollywood" 1 Part 1. The Social Status of Films and Filmmakers 1. From Vice to Virtue: The State and Filmmaking in India 41 2. From Slumdogs to Millionaires: The Gentrification of Hindi Cinema 77 3. Casting Respectability 119 Part 2. The Practices and Processes of Film Production 4. A Day in the Life of a Hindi Film Set 155 5. The Structure, Organization, and Social Relations of the Hindi Film Industry 175 6. Sentiments of Disdain and Practices of Distinction: The Work Culture of the Hindi Film Industry 215 7. Risky Business: Managing Uncertainty in the Hindi Film Industry 243 Part 3. Discourses and Practices of Audience-Making 8. Pleasing Both Aunties and Servants: The Hindi Film Industry and Its Audience Imaginaries 281 9. The Fear of Large Numbers: The Gentrification of Audience Imaginaries 315 Epilogue: My Name Is Bollywood 359 Notes 367 Bibliography 401 Index 419

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Book SynopsisProducing Bollywood is an in-depth ethnography of the Bombay-based Hindi film industry, more popularly known as Bollywood. Taking readers inside this hugely popular global industry, Tejaswini Ganti focuses on the social world and professional practices of well-known Hindi filmmakers.Trade Review"Tejaswini Ganti mines her extensive contacts in an industry generally closed-off to outsiders to provide us with in-depth analyses of the sensibilities, compulsions, and desires of important figures in the film industry, as well as the social practices of film production. Producing Bollywood provides unique insights into the forces that shape the production of films in one of the largest film industries in the world. By going beyond the hype surrounding 'Bollywood' and eschewing simplistic dismissals about escapism and the profit-making drive of Bollywood filmmakers, this book enables us to understand the cultural logics that shape the production of Bollywood film. Based on more than a decade of ethnographic fieldwork in multiple sites of film production, Producing Bollywood is truly a trailblazing work."—Purnima Mankekar, author of Screening Culture, Viewing Politics: An Ethnography of Television, Womanhood, and Nation in Postcolonial India"This is the first book on Bollywood to combine a deep knowledge of the dynamics of script, song, stars, and style in this cinematic world with an equally keen sense of the unique nature of the politics, finance, and cultural prejudices of the film industry. It will be an indispensable benchmark for all future studies of Bollywood and of similar cinematic industries worldwide, and it will interest media scholars, anthropologists, sociologists of culture, and the curious general reader."—Arjun Appadurai, New York University“In Producing Bollywood, the first truly comprehensive ethnographic account of the Mumbai-based film industry, Tejaswini Ganti crafts an ode to an India in deep transition, via the multifaceted lenses of a glamorized and iconic subsection of its Hindi-language filmmakers and actors. . . . [A] landmark study.” -- Ritesh Mehta * International Journal of Communication *“Producing Bollywood is a lucidly written and thoroughly researched ethnography of a film industry whose products are deeply interwoven in the ordinary life and politics of hundreds of millions of people.” -- Jonathan Shapiro Anjaria * American Ethnologist *“[O]ffers extraordinary insight into the production processes of the late 1990s…. [T]he thoroughness and comprehensive review of trends in this book must be highly commended.” -- Rodney Jensen * Media International Australia *“The book is rich in anthropological and historical data, theoretically astute, accessible, and great fun to read. It is a must for anyone interested in Bollywood or other film industries, and for scholars interested in the effects of neoliberalism and globalization in India. Highly recommended. Lower-division undergraduates through faculty; general readers.” -- L. M. Proctor * Choice *“Producing Bollywood is a riveting read. It draws carefully thought out connections between cultural formations, changing discourses of legitimacy and nation building. It is to Ganti’s credit that she is able to bring rigorous ethnographic tools to bear upon fieldwork materials put together over a decade and more.... Overall, this is a timely and much needed insight into the intersections of the political economy of production, consumption and legitimization of mass cultural products. It should interest readers and students of Mass Media, Film Studies, Culture Studies, South Asia, Anthropology and Ethnography.” -- Sushmita Banerji * Studies in South Asian Film & Media *“The book may be useful to anyone interested in sociology, anthropology, cinema, media, communication, cultural studies, development studies and other interdisciplinary fields. The book is indispensable for those who still use the terms Hindi cinema and Bollywood interchangeably and find it unproblematic.” -- K. V. Nagesh * Economic and Political Weekly *“Tejaswini Ganti’s Producing Bollywood is perhaps the most comprehensive and in-depth account of the Hindi film industry to date...Despite being 440 pages in length, Ganti’s accessible writing style makes this ethnography a joy to read.” -- Harjant S. Gill * Visual Anthropology Review *“Filled with first-hand accounts of the inner workings of the vast Mumbai-based Bollywood film industry collected through numerous interviews and extraordinarily extensive fieldwork undertaken over the course of more than a decade of research, Producing Bollywood meets a previously unfilled need on the part of those engaged in studying Indian cinema and culture by letting a large part of this varied and diverse industry speak, as it were, for itself.” -- Gabriel Shapiro * Contemporary South Asia *“Ganti’s book is a commendable pioneering initiative. It will be useful for students, researchers, and those interested in South Asian film studies.” -- Sanjukta Dasgupta * American Anthropologist *Table of ContentsAcknowledgments ix Introduction. How the Hindi Film Industry Became "Bollywood" 1 Part 1. The Social Status of Films and Filmmakers 1. From Vice to Virtue: The State and Filmmaking in India 41 2. From Slumdogs to Millionaires: The Gentrification of Hindi Cinema 77 3. Casting Respectability 119 Part 2. The Practices and Processes of Film Production 4. A Day in the Life of a Hindi Film Set 155 5. The Structure, Organization, and Social Relations of the Hindi Film Industry 175 6. Sentiments of Disdain and Practices of Distinction: The Work Culture of the Hindi Film Industry 215 7. Risky Business: Managing Uncertainty in the Hindi Film Industry 243 Part 3. Discourses and Practices of Audience-Making 8. Pleasing Both Aunties and Servants: The Hindi Film Industry and Its Audience Imaginaries 281 9. The Fear of Large Numbers: The Gentrification of Audience Imaginaries 315 Epilogue: My Name Is Bollywood 359 Notes 367 Bibliography 401 Index 419

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Book SynopsisGrounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately illuminates the elusive foundations of political and cultural sovereignty in mass-mediated societies.Trade Review"As a system of regulation behind mass publicity, censorship stands at a scholarly impasse, often arbitrary in its exercise and yet seemingly consensual in its popular outcomes. William Mazzarella fills major lacunae in the existing literature on censorship by his incisive analysis of the cultural forms of censorship across colonial and postcolonial periods. This is an important addition to the anthropology of media and globalization in South Asia."—Arvind Rajagopal, author of Politics after Television: Hindu Nationalism and the Reshaping of the Public in India"In Censorium, William Mazzarella demonstrates that censorship is integral to the performance of sovereignty and the constitution of 'mass-publics' in socially diverse and mass-mediated societies. His incisive and immensely suggestive book is destined to become a standard reference in film studies, media studies, and the anthropology of the state."—Thomas Blom Hansen, author of Melancholia of Freedom: Social Life in an Indian Township in South Africa“This book is eminently readable and the arguments are easily accessible…. [S]o much of the density of the theoretical arguments that it resorts to are softened through such tender and accessible language that doesn’t for a moment appear to moralize or sermonize even when the author is forced to take up sensitive issues of culture, class, gender and morality…. Censorium is at once a documentary on censorship and a theoretical space for hair-splitting analyses.” -- Usha V.T. * The Hindu *"This book, which lies at the intersection of anthropology and meida studies, is a path-breaking analysis of censorship in the Indian film industry." -- Rohit K. Dasgupta * Asian Affairs *"The book’s stage is cinema, but it helps us understand how dominant caste groups have been so effective in mobilising support for informal bans such as on writer Perumal Murugan’s Mathorubagan, till the courts’ defence of the writer’s right to write. Mazzarella’s exploration of India’s engagement with censorship begins during British rule, and shows how restrictions on free speech got enshrined in the Constitution. The legal framework of censorship is still a work in progress. . . . To defend the indefensible, to be a little more tolerant and a little indulgent — for me those are the unstated takeaways from this important book." -- Anuradha Raman * The Hindu *Table of ContentsAcknowledgments vii Introduction. The Censor's Fist 1 1. Performative Dispensations: The Elementary Forms of Mass Publicity 29 2. Who the Hell Do the Censors Think They Are? Grounds of the Censor's Judgment 76 3. We Are the Law! Censorship Takes to the Streets 115 4. Quotidian Eruptions: Aesthetic Distinction and the Extimate Squirm 156 5. Obscene Tendencies: Censorship and the Public Punctum 190 Notes 223 Bibliography 257 Index 275

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Book SynopsisGrounded in a close analysis of cinema regulation in the world's largest democracy, Censorium ultimately illuminates the elusive foundations of political and cultural sovereignty in mass-mediated societies.Trade Review"As a system of regulation behind mass publicity, censorship stands at a scholarly impasse, often arbitrary in its exercise and yet seemingly consensual in its popular outcomes. William Mazzarella fills major lacunae in the existing literature on censorship by his incisive analysis of the cultural forms of censorship across colonial and postcolonial periods. This is an important addition to the anthropology of media and globalization in South Asia."—Arvind Rajagopal, author of Politics after Television: Hindu Nationalism and the Reshaping of the Public in India"In Censorium, William Mazzarella demonstrates that censorship is integral to the performance of sovereignty and the constitution of 'mass-publics' in socially diverse and mass-mediated societies. His incisive and immensely suggestive book is destined to become a standard reference in film studies, media studies, and the anthropology of the state."—Thomas Blom Hansen, author of Melancholia of Freedom: Social Life in an Indian Township in South Africa“This book is eminently readable and the arguments are easily accessible…. [S]o much of the density of the theoretical arguments that it resorts to are softened through such tender and accessible language that doesn’t for a moment appear to moralize or sermonize even when the author is forced to take up sensitive issues of culture, class, gender and morality…. Censorium is at once a documentary on censorship and a theoretical space for hair-splitting analyses.” -- Usha V.T. * The Hindu *"This book, which lies at the intersection of anthropology and meida studies, is a path-breaking analysis of censorship in the Indian film industry." -- Rohit K. Dasgupta * Asian Affairs *"The book’s stage is cinema, but it helps us understand how dominant caste groups have been so effective in mobilising support for informal bans such as on writer Perumal Murugan’s Mathorubagan, till the courts’ defence of the writer’s right to write. Mazzarella’s exploration of India’s engagement with censorship begins during British rule, and shows how restrictions on free speech got enshrined in the Constitution. The legal framework of censorship is still a work in progress. . . . To defend the indefensible, to be a little more tolerant and a little indulgent — for me those are the unstated takeaways from this important book." -- Anuradha Raman * The Hindu *Table of ContentsAcknowledgments vii Introduction. The Censor's Fist 1 1. Performative Dispensations: The Elementary Forms of Mass Publicity 29 2. Who the Hell Do the Censors Think They Are? Grounds of the Censor's Judgment 76 3. We Are the Law! Censorship Takes to the Streets 115 4. Quotidian Eruptions: Aesthetic Distinction and the Extimate Squirm 156 5. Obscene Tendencies: Censorship and the Public Punctum 190 Notes 223 Bibliography 257 Index 275

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Book SynopsisBy exploring the "aesthetics of shadow" in Japanese cinema in the first half of the twentieth century and treating cinematographers and lighting designers as essential collaborators in moviemaking, Daisuke Miyao reinterprets Japanese film history.Trade Review"The Aesthetics of Shadow is sophisticated and superbly researched, breaking new ground with the richness of its historical detail. Daisuke Miyao's innovative approach opens up the field beyond the usual focus on genre, stars, and key authors. It will serve as an example for the writing of histories outside of Japanese cinema."—Frances Guerin, author of A Culture of Light: Cinema and Technology in 1920s Germany"The Aesthetics of Shadow tracks through Japanese film history with an eye on the cultural and technological underpinnings of aesthetic change. Many people have written on the aesthetic transformations of Japanese film in the first half of the twentieth century, but no one has done it with such close attention to the material basis of cinema. It is a refreshingly new approach to Japanese history. Daisuke Miyao delivers a lively and fascinating account of cinematography in the first half century of Japanese cinema."—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“Film-history texts can often be dull, lack real insight beyond a litany of factual information, and plod along to foregone conclusions, structured as simply a lecture, where content overrides form. Daisuke Miyao's The Aesthetics of Shadow: Lighting and Japanese Cinema isn't only an exception to these rules, but establishes a benchmark for which contemporary film-history research should aim…[H]e achieves this, at least in part, by structuring his scholarship as more of a thriller, than merely the standard (and soporific) fact-upon-fact approach.” -- Clayton Dillard * Slant Magazine *“The book is grounded by exhaustive research; Miyao captures the debates surrounding shifts in lighting trends impeccably, … [it has an] interdisciplinary applicability to the fields of film, cultural studies and art history. The work articulates such a detailed understanding of cinematography and lighting practices that it would also be of great interest to cinematographers and related film practitioners.” -- Jessica Balanzategui * Media International Australia *"In conclusion, the central thesis of this book problematizes much of what has been published in English on early Japanese cinema to date. As such, the work is a welcome addition to existing studies by Joanne Bernardi, Mitsuyo Wada-Marciano, and Aaron Gerow." -- Isolde Standish * Journal of Japanese Studies *"This is a solid work, creating an insightful and persuasive argument for the relationship between a particular aesthetic and a particular ideological environment." -- Timothy Iles * Pacific Affairs *"[Miyao] provides an... abundance of detail, but the overall approach is revelatory, culminating in a chapter about Japan's most celebrated cinematographer, Miyagawa Kazuo..." -- Jasper Sharp * Sight & Sound *"The Aesthetics of Shadow is an important contribution to the scholarship on cinema and modernity in Japan.... Anyone with a basic knowledge of Japanese film history will find the book accessible, but specialists in particular will welcome this study as an important and comprehensive new reference, especially as it pertains to Shōchiku and Tōhō." -- Diane Wei Lewis * Monumenta Nipponica *Table of ContentsAcknowledgments ix Introduction. What is the Aesthetics of Shadow? 1 1. Lighting and Capitalist-Industrial Modernity: Shochiku and Hollywood 15 2. Flashes of the Sword and the Star: Shochiku and Jidaigeki 67 3. Street Films: Shochiku and Germany 119 4. The Aesthetics of Shadow: Shochiku, Tohu, and Japan 173 Conclusion. The Cinematography of Miyagawa Kazuo 255 Notes 283 Bibliography 329 Index 365

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Book SynopsisPublic Properties is a historical account of how museums in Japan and its empire contributed to the reimagining of state and society during Japan's imperial era, from 1868 until 1945.Trade Review"Public Properties demonstrates that Japan's development of museums reflected its growth into a modern nation-state. Yet the book is more than a history of the museum in modern Japan. Noriko Aso offers a comprehensive account of how public and private institutions came together in the formation of national and imperial ideals, pointing out how museums in Japan's colonies were conceived to take advantage of local conditions while emphasizing the larger mission of empire."—Stefan Tanaka, author of New Times in Modern Japan"Public Properties will be an important book in Japanese history and intersecting fields including colonial studies, public culture, art history, and museum studies. Noriko Aso shows how integral a modern museum culture was to the formation of an 'imperial public' in Japan during the late nineteenth century and early twentieth. She provides original perspectives on questions of collective identity and political culture during the imperial era and sheds new light on key issues in the field of modern Japanese history."—Leslie Pincus, author of Authenticating Culture in Imperial Japan: Kuki Shuzo and the Rise of National Aesthetics"By skillfully juxtaposing her analysis of government and private exhibition spaces, the author offers bold and compelling explanations for how artistic objects were used to create new publics that helped form collective identification with Japan's imperial state in the early twentieth century. No reader will fail to be edified by this thoughtful and instructive study." -- Tom Havens * Journal of Japanese Studies *" . . . this book could easily be used as an exciting portal for introducing students to diverse aspects of modern Japanese history and its clever theoretical framework will undoubtedly serve Japan scholars well." -- Charles V. Reed * H-Empire, H-Net Reviews *"[A]n important contribution to the emerging scholarship on museums as public properties in Japan during the Imperial period and is one for those interested in Japanese history, art history and museum studies." -- Eriko Kay * Asian Affairs *“Aso’s study is an intriguing, and refreshingly straightforward, examination of the shaping of the Japanese public…. This is a remarkably accessible text highlighting a set of ideas with implications and lessons that reach far beyond the case study’s time and place and straight into the musings of museum studies today, complete with reproductions of historical photographs, documentation and other ephemera that add a welcome visual touchstone to Aso’s detailed accounts.” -- Jessica Sattell * JQ Magazine *"[Public Properties is] of interest to Japan and East Asia scholars as well as museum studies specialists.... [The] book is a welcome addition to one of the most vibrant recent areas of scholarly attention, the place of aesthetics in the creation of modern Japanese nationalism." -- Mark Jones * American Historical Review *“Aso has provided an excellent, and much-needed, history of exhibition spaces and practices in twentieth-century imperial Japan. This study fills an important gap in English-language museum studies scholarship and will be useful reading for scholars of Japanese history, twentieth-century visual culture, and colonial studies.” -- Charlotte Eubanks * Asian Ethnology *Table of ContentsList of Illustrations ix Acknowledgments xi Introduction 1 1. Stating the Public 13 2. Imperial Properties 63 3. Colonial Properties 95 4. The Private Publics of Ohara, Shibusawa, and Yanagi 127 5. Consuming Publics 169 Epilogue 203 Notes 223 Bibliography 279 Index 297

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Book SynopsisIn Mimesis Across Empires, Natasha Eaton examines the interactions, attachments, and crossings between the visual cultures of the Mughal and British Empires during the formative period of British imperial rule in India. Eaton explores how the aesthetics of Mughal 'vernacular' art and British 'realist' art mutually informed one another to create a hybrid visual economy. By tracing the exchange of objects and ideas—between Mughal artists and British collectors, British artists and Indian subjects, and Indian elites and British artists—she shows how Mughal artists influenced British conceptions of their art, their empire, and themselves, even as European art gave Indian painters a new visual vocabulary with which to critique colonial politics and aesthetics. By placing her analysis of visual culture in relation to other cultural encounters—ethnographic, legislative, diplomatic—Eaton uncovers deeper intimacies and hostilities between the colonizer and thTrade Review"Exploding expectations about 'exchange' and 'co-histories,' Natasha Eaton offers a radical and brilliant analysis that perfectly describes the struggle over mimesis in colonial India. 'Alter-aware' imagery and practices are animated in complex dances of intimacy and hostility. A hugely important work."—Christopher Pinney, coeditor of Photography's Other Histories"This is a genuinely exciting contribution to visual culture studies and postcolonial art history, offering a rich and wide-ranging account of mimesis in various imperial and South Asian representational exchanges over the crucial period from the establishment of the British East India Company to the Uprising. Richly informed by recent philosophy, contemporary art and art theory, and anthropology, among other fields, this book bristles with ambition and provocative ideas."—Nicholas Thomas, coauthor of Art in Oceania: A New History"Mimesis across Empires presents a strikingly innovative and challenging perspective on British art's relationship to empire and the imperial consciousness, as well as on the role of art and artists in British India. Impressively researched and theoretically well informed, this book considers European and Indian modes of visuality alongside each other in order to reframe the relationship between colonizer and colonized."—Geoff Quilley, author of Empire to Nation: Art, History and the Visualization of Maritime Britain, 1768–1829“Thoroughly researched, beautifully illustrated, and compellingly argued, the book centers on five case studies of ‘artworks and networks’ that recast the agency of art and the operations of empire through the dynamics of ‘copy and contact’…Highly recommended.” -- S. Khullar * Choice *"In the wake of the postcolonial turn and the impact of cultural history upon the arts, as well as the significant strides made in the corresponding fields of literature, history, and anthropology, Mimesis Across Empires has taken on the much-needed task of updating our understanding of the cultural transactions in early colonial India with wonderful new material that will hopefully draw more scholars to engage with it." -- Niharika Dinkar * Exemplar *“Eaton’s formidable study is not merely another instance of art history’s increasing emphasis on cross-cultural exchange, where hyphenated geographies bring into proximity and yet still separate artworks into separate traditions of making and viewing or sensing. Mimesis across Empires instead expertly navigates both British and Indian sources. It behoves art historians to pay attention to its interdisciplinary fluency, as well as to the acuity with which it interweaves theoretical insights and archival findings.” -- Zirwat Chowdhury * Art History *“The author’s own voice is very much present in the work and she disseminates her extensive research in a thought-provoking and engaging way. The book successfully concludes with a reflection on present-day mimesis in visual culture in the context of neocolonialism in the Middle East. Mimesis Across Empires will be a valuable resource for researchers of Indian visual culture and postcolonial art history. It also offers historians and social scientists useful insights into the complex relationship between the colonisers and the colonised between 1765 and 1860 in India.” -- Megha Rajguru * Visual Studies *Table of ContentsList of Illustrations ix Acknowledgments xiii Introduction 1 1. Colonizing the Exotic: Indian and Colonial Art in London 19 2. The Mirroring of Mirrors: Nostalgia, Sovereignty, and Unhomely Images in Calcutta 63 3. Mimicking Kingship: Sovereign Genealogies, Vernacular Landscape, and the Work of William Hodges 105 4. Art and Gift in India: Mimesis and Inalienability 151 5. Sacrifice and the Double: Physiognomy, Divination, and Ethnographic Art in India 195 Conclusion 229 Notes 247 Works Cited 297 Index 323

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Book SynopsisCinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television.Trade Review"Cinema of Actuality demonstrates that—despite the copious scholarship on Japanese films of the 1960s and 1970s—we know less about this period than we think. Yuriko Furuhata provides crucial new insights, deftly placing the films in the context of the era's media mix, while introducing us to the theoretical writings underpinning the filmmakers' creative practices. The result is a vital contribution to the history of film theory."—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary"Cinema of Actuality is a tour de force, a potentially field-changing intervention in Japanese film studies, TV and media theory, and the study of postwar world film culture. Yuriko Furuhata shows that during the 1960s and 1970s, major political events and their portrayal in the media formed the basis for an entire Japanese cinema. At the same time, she poses vital questions about media theory and representation more broadly. This is a singularly important work."—Akira Mizuta Lippit, author of Ex-Cinema: From a Theory of Experimental Film and Video"At last there's a book that reads the Japanese cinema of the 1960s and 1970s in a cross-media context and with a rigorous historical and theoretical eye. Elegantly and precisely argued, this is a book that is both exemplary and surprising. From manga to militant cinema, from landscape theory to pink film, Yuriko Furuhata gives readers the discursive and political history that allows a new understanding of the Japanese film and media of this era."—Miryam Sas, author of Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return"Artists often make great sociological commentators, and Furuhata’s book sheds new light on the insights of these filmmakers.... [a] compelling and necessary addition to cinema scholarship." -- Lyle Sylvander * JQ Magazine *“Studies that grapple with the complexities of cross-cultural analysis are few… the author is well qualified to achieve an excellent addition to the literature.” -- Mike Leggett * Leonardo Reviews *“[A] remarkably researched and argued case for Japan's complex theoretical contributions to the field of cinema studies…. The totality of Furuhata's work is a benchmark of attained, wide-reaching scope that any serious academic work should ascribe to achieve.” -- Clayton Dillard * Slant Magazine *“Furuhata convincingly sketches the intellectual and social environment that gave birth to some of Japan’s most distinctive films.” -- Alexander Jacoby * TLS *"Adds significant depth, nuance and context to a topic that has, for good reason, long captivated an audience of cinephiles, activists and researchers." -- Steven Ridgely * Pacific Affairs *"Furuhata … brilliantly analyses a radical movement whose effects can be traced in contemporary film, anime, manga, and television representations. Cinema of actuality sets a new standard of scholarly excellence in Japanese film studies and is a book to go on all our reading lists." -- Dolores P. Martinez * Anthro Forum *“Cinema of Actuality highlights the many ways the cinematic avant-garde was deeply concerned with the rise of the broadcast political spectacle. This attention to the contemporaneous gives the book itself a strong feeling of ‘actuality,’ and the richly detailed contexts it offers will have a profound impact on our understanding of this ‘season of image politics.’” -- Paul Roquet * Japan Forum *"Fascination with actuality is alive and well, in social media and on the streets, where we find old vanguards among the fresh faces of counter-politics. Although the media platforms have changed, this continuity suggests that the reach of Furuhata’s insightful analysis in this book may be far greater than the period it covers." -- Mariko Shigeta Schimmel * Monumenta Nipponica *Table of ContentsAcknowledgments vii Introduction 1 1. Intermedial Experiments and the Rise of the Eizo Discourse 13 2. Cinema, Event, and Artifactuality 53 3. Remediating Journalism: Politics and the Media Event 88 4. Diagramming the Landscape: Power and the Fukeiron Discourse 115 5. Hijacking Television: News and Militant Cinema 149 Conclusion 183 Notes 203 Bibliography 239 Index 255

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Book SynopsisDesigned for classroom use, this book gathers in one volume primary source materials related to the first two wars that Great Britain launched against native leaders of the Afghan region. It is a cautionary tale, unheeded by Western powers in the post-9/11 era.Trade Review"The reader illustrates the importance of finding elusive local perspectives on the first Anglo–Afghan wars to achieve a nuanced understandingof the conflicts." -- Robert Eric Colvard * Itinerario *"Current Western leaders could definitely benefit from reading the essays in this volume." -- Harold E. Raugh, Jr. * International Journal of Military History *"Overall, Burton’s impressive collection of documents offers a great deal to students and scholars alike. It will enliven classroom debate in courses on imperialism, warfare, and South and Central Asia. The book provides a much-needed history of recent and contemporary warfare, especially in Afghanistan, South Asia, and the Middle East." -- Kate Imy * H-War, H-Net Reviews *Table of ContentsForeword / Andrew J. Bacevich ix Acknowledgments xi Introduction: The Anglo-Afghan Wars in Historical Perspective 1 Part I. Strategic Interests on the Road to Kabul 15 Part II. The First Anglo-Afghan War, 1839-1842: Occupation, Route, Defeat, Captivity 43 Part III. The Second Anglo-Afghan War, 1878-1880: Imperial Insecurities, Global Stakes 127 Part IV. The Great Game, 1880-1919 189 Selected Bibliography of Secondary Sources 255 Reprint Acknowledgments 257 Index 259

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Book SynopsisDesigned for classroom use, this book gathers in one volume primary source materials related to the first two wars that Great Britain launched against native leaders of the Afghan region. It is a cautionary tale, unheeded by Western powers in the post-9/11 era.Trade Review"The reader illustrates the importance of finding elusive local perspectives on the first Anglo–Afghan wars to achieve a nuanced understandingof the conflicts." -- Robert Eric Colvard * Itinerario *"Current Western leaders could definitely benefit from reading the essays in this volume." -- Harold E. Raugh, Jr. * International Journal of Military History *"Overall, Burton’s impressive collection of documents offers a great deal to students and scholars alike. It will enliven classroom debate in courses on imperialism, warfare, and South and Central Asia. The book provides a much-needed history of recent and contemporary warfare, especially in Afghanistan, South Asia, and the Middle East." -- Kate Imy * H-War, H-Net Reviews *Table of ContentsForeword / Andrew J. Bacevich ix Acknowledgments xi Introduction: The Anglo-Afghan Wars in Historical Perspective 1 Part I. Strategic Interests on the Road to Kabul 15 Part II. The First Anglo-Afghan War, 1839-1842: Occupation, Route, Defeat, Captivity 43 Part III. The Second Anglo-Afghan War, 1878-1880: Imperial Insecurities, Global Stakes 127 Part IV. The Great Game, 1880-1919 189 Selected Bibliography of Secondary Sources 255 Reprint Acknowledgments 257 Index 259

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Book SynopsisTrade Review“Despite the depressing story that it has to tell, Land’s End is a real pleasure to read, a tour de force without a trace of bombast, a model of ethnographic writing for new generations of students and agrarian researchers to follow.” -- Ben White * Development and Change *“Every so often we have the privilege of reading a book that, like Tania Li’s Land’s End, radically realigns our thinking on pressing problems. Li combines a nuanced analysis of long-term ethnographic data and a straightforward, yet sophisticated, theoretical framework to prod us to reexamine an issue that is hardly unique to Indonesia: how have landless rural people been left behind in the march toward capitalist agricultural production and market expansion?" -- Sarah Lyon * Anthropological Quarterly *“This text adds deep and valuable ethnographic insight to existing narratives of the emergence of capitalist relations in indigenous societies. It rightfully challenges structuralist accounts of primitive accumulation using detailed ethnographic data. As such, it should be read, and likely will be, beyond the borders of development studies and anthropology." -- Christopher Webb * Canadian Journal of Development Studies *"Land’s End is book of delicate power, almost a laboratory account of how capital seizes hold and transforms the latticework of social relations through an almost banal process of ‘erosion’, where the bearers of capital, unrecognized, participate in the re-invention of their own ‘subject’ position. … Aided by artful ethnography, Land’s End crafts a strange yet deeply familiar world. Many sedimentary views are felled along the way, gently but firmly. Notions of indigeneity, frontier, custom, moral economy, primitive accumulation, transition, development, and citizenship, all come in for scrutiny and are left rattled.” -- Vinay Gidwani * Antipode *"The combination of the ethnographic longevity of her work with the theoretical sophistication of her analysis results in a provocative account of growing inequality and dynamic capitalist relations. The case studies and stories Li relates bring these elements to life, but the implications stretch far beyond the Lauje highlands." -- Susan M. Darlington * American Ethnologist *"Land’s End is a very fine book indeed. Tania Murray Li has written one of those studies—all too few in number—which, while empirically focused, builds an argument that will resonate with scholars working across widely differing contexts." -- Jonathan Rigg * Pacific Affairs *"Land’s End operates at a compelling theoretical interspace very much needed in contemporary accounts of globalization. . . . In short, it’s really good anthropology." -- Shane Greene * American Anthropologist *“Land’s End is a thorough and compelling piece of ethnographic scholarship. Written in very accessible narrative style, but appropriately grounded in social theory, it is a great read for social scientists, graduate and undergraduate students, rural development practitioners, and inquisitive nonacademics.” -- Ramzi Tubbeh * Rural Sociology *Table of ContentsAcknowledgments Introduction 1. Positions 2. Work and Care 3. Enclosure 4. Capitalist Relations 5. Politics, Revisited Conclusion Appendix: Dramatis Personae Notes Bibliography Index

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Book SynopsisPart memoir, part travelogue, A Matter of Rats is the acclaimed writer Amitava Kumar's account of Patna, one of the world's oldest cities, the capital of India's poorest province, and the author and Vassar professor's home town.Trade Review"An intimate and whimsical book, but one that truly shines when the author turns his gaze to the ordinary people who still live in Patna . . . skillfully evoking the circumstances of chaos, filth and absurdity in which even the city’s middle-class professionals are forced to live." -- Sonia Faleiro * New York Times Book Review *“This new look at an ancient city transports readers on a fun journey. Lovers of travel writing, Indian history, and fans of literature will greatly enjoy this short book. . . .” -- Melissa Aho * Library Journal *"Pound for pound, Amitava Kumar is one of the best nonfiction writers of his generation. . . . No one in India writes a more fine-grained and quietly evocative prose. . . . In his marvelous new work A Matter of Rats: A Short Biography of Patna, Kumar puts a stethoscope to his hometown and takes a reading of its heart." -- Siddharth Chowdhury * Time Out Delhi *“There's much more to Patna than rats, of course, and Kumar touches on its ancient glory and later role in the East India Company's opium trade. He also writes eloquently about writing itself, and the meaning of place.” -- Nina Shengold * Chronogram *“E. B. White composed Here Is New York, his fraught love letter to Manhattan, during a heat wave in the summer of 1948. Sixty-four years later, the book served as a ‘secret talisman’ for Amitava Kumar, who carried it with him into the heat and humidity of his hometown, Patna, in India, as he wrote A Matter of Rats, an equally cleareyed ode to a similarly implausible place.” -- Maud Newton * New York Times Magazine *"Kumar is alert to the signs of life coming from sometimes unanticipated directions. . . . This refusal of pessimism is one of the refreshing elements of Kumar’s writing. While there is always plenty of bad news in Patna, he insists on the presence of joy — an emotion that, rare as it is, 'is as real as suffering' — even in surprising places. He poignantly describes incidents of everyday compassion and of the sacrifices of teachers, doctors, and activists. Each crisis or injustice, it seems, has sparked its own rebels, some noisy, others quiet." -- David Boyk * Los Angeles Review of Books *“This book has something for everyone – historical tales, reflection on current India, guidance on writing and as a map for someone planning to visit Patna." -- Rajdeep Pakanati * Contemporary South Asia *Table of ContentsAcknowledgments ix Introduction. The Place of Place xi 1. The Rat's Guide 1 2. Pataliputra 15 3. Patna in the Hole 29 4. Leftover Patna 45 5. Other Patnas 63 6. Emperor of This World 73 7. Emotional Atyachaar 85 Epilogue. Place of Birth/Place of Death 103 Notes 109 Index 113

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Book SynopsisA bestseller in Tibet until it was banned by China, this moving memoir chronicles Naktsang Nulo’s childhood in Tibet’s Amdo region during the uprising against the Chinese invasion of the 1950s.Trade Review"Some books lure us into new lives and unexpected worlds. Here, the person is the author himself, Naktsang Nulo. . . . There is no other such an apolitical book, known to me, by a Tibetan living and working in Tibet. . . .Neither the Chinese nor the Tibetan diaspora will be able to claim that Naktsang’s memoir accords with their conflicting views of the nature of Tibet and its people – although official Chinese will dislike it more because it makes plain the cruelty of their soldiers during the later Fifties." -- Jonathan Mirsky * High Peaks Pure Earth *“This unconventional memoir is a literary as well as historical treasure.” -- Andrew J. Nathan * Foreign Affairs *“In this contested territory a voice such as that of Naktsang Nulo, author of My Tibetan Childhood, is extremely rare. . . . Naktsang’s is a shattering story, the only published account of the experience of ordinary families during the Chinese assertion of control in Amdo, or of the nomads’ doomed resistance against an overwhelming force of PLA regulars.” -- Isabel Hilton * London Review of Books *“I can’t tell you how refreshing this book is. Religious life writing certainly has its own beauty, but it is really nice to read an autobiography that depicts the actions and concerns of people who are not elite religious practitioners. … So who should read this book? I’d say pretty much everyone interested in Tibet. It is obviously valuable for those interested in the history of twentieth century Sino-Tibetan conflict, but also gives important insight into pre-communist nomadic life.” -- Geoff Barstow * Lost Yak *"The book carries the reader along on a huge tidal wave of emotion. The beauty of the landscape, the compassion and love between individuals, and the cruelty and violence of daily life, combined with the high adventure of travel and escape, make this at times a real page-turner as well as a significant breakthrough in our understanding of the history of Amdo." -- Wendy Palace * Asian Affairs *"With the publication of My Tibetan Childhood, this little known history is now available to a far wider audience. Anyone interested in modern Tibetan or Chinese history—scholars, students, and the general public alike—should be grateful." -- Benno Ryan Weiner * Pacific Affairs *"This is an extraordinary book for the history it tells, made even more so by the fact that it was published originally in China. Naktsang Nulo . . . traces the first dozen years of his life, full of both joy and horror, in a riveting, matter-of-fact style without recriminations or judgments, making this autobiography all the more powerful." -- A. Tom Grunfeld * The China Journal *Table of ContentsForeword / 14th Dalai Lama, Tenzin Gyatso ix Foreword / Ralph Litzinger xi Introduction. A Note on Context and Significance / Robert Barnett xv Translator's Note liii Author's Preface 1 Prelude. The Charnel Ground 9 1. Born on the Wide Tibetan Grasslands 13 2. A Childhood with Herdsman, Bandits, and Monks 49 3. By Yak Caravan to the Holy City of Lhasa 71 4. Witness to Massacre on Our Tragic Journey through Desolate Places 131 5. Torture and Imprisonment, Starvation and Survival 183 Appendix. Guide to the Abridgment and Chapter Changes from Original 269 Glossary 271 Index 283

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Book SynopsisLooking at ten books that shaped the modern British Empire, the contributors examine imperial classics, anticolonial blockbusters, and a range of pamphlets, assessing the effects of each one on key aspects of imperial history.Trade Review"Ten Books That Shaped the British Empire: Creating an Imperial Commons will prove invaluable to scholars working on imperial print cultures, attempting to think globally in Victorian or American studies, or otherwise seeking to unfield British Empire studies." -- Kellie D. Holzer * History: Reviews of New Books *"Ten Books That Shaped the British Empire . . . sketches an important new nexus for the analysis of print cultures and empires, tracing the ways in which print was embedded in imperial contexts and could inflect those contexts." -- Robert J. Mayhew * Journal of Historical Geography *"Ten Books that Shaped the British Empire works well because the books reviewed in it are diverse in origin, subject, and intention, and because the essays are all of a very high quality; the essays work together to inform and stimulate their readers’ further thinking about the cultural workings of colonization and decolonization. It is a book well worth reading as a whole. Together, it becomes much more than the sum of its many parts." -- Lisa Chilton * Canadian Journal of History *Table of ContentsAcknowledgments ix Introduction. The Spine of Empire? Books and the Making of an Imperial Commons / Antoinette Burton and Isabel Hofmeyr 1 1. Remaking the Empire from Newgate: Wakefield's A Letter from Sydney / Tony Ballantyne 29 2. Jane Eyre at Home and Abroad / Charlotte MacDonald 50 3. Macaulay's History of England: A Book That Shaped Nation and Empire / Catherine Hall 71 4. "The Day Will Come": Charles H. Pearson's National Life and Character: A Forecast / Marilyn Lake 90 5. Victims of "British Justice"? A Century of Wrong as Anti-imperial Tract, Core Narrative of the Afrikaner "Nation," and Victim-Based Solidarity-Building Discourse / Andre Du Toit 112 6. The Text in the World, the World through the Text: Robert Baden-Powell's Scouting for Boys / Elleke Boehmer 131 7. Hind Swaraj: Translating Sovereignty / Tridip Suhrud 153 8. Totaram Sanadhya's Fiji Mein Mere Ekkis Varsh: A History of Empire and Nation in a Minor Key / Mrinalini Sinha 168 9. C. L. R. James's The Black Jacobins and the Making of the Modern Atlantic World / Aaron Kamugisha 190 10. Ethnography and Cultural Innovation in Mau Mau Detention Camps: Gakaara wa Wanjau's Mihiriga ya Agikuyu / Derek R. Peterson 216 Bibliography 239 Contributors 261 Index 265

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Book SynopsisLooking at ten books that shaped the modern British Empire, the contributors examine imperial classics, anticolonial blockbusters, and a range of pamphlets, assessing the effects of each one on key aspects of imperial history.Trade Review"Ten Books That Shaped the British Empire: Creating an Imperial Commons will prove invaluable to scholars working on imperial print cultures, attempting to think globally in Victorian or American studies, or otherwise seeking to unfield British Empire studies." -- Kellie D. Holzer * History: Reviews of New Books *"Ten Books That Shaped the British Empire . . . sketches an important new nexus for the analysis of print cultures and empires, tracing the ways in which print was embedded in imperial contexts and could inflect those contexts." -- Robert J. Mayhew * Journal of Historical Geography *"Ten Books that Shaped the British Empire works well because the books reviewed in it are diverse in origin, subject, and intention, and because the essays are all of a very high quality; the essays work together to inform and stimulate their readers’ further thinking about the cultural workings of colonization and decolonization. It is a book well worth reading as a whole. Together, it becomes much more than the sum of its many parts." -- Lisa Chilton * Canadian Journal of History *Table of ContentsAcknowledgments ix Introduction. The Spine of Empire? Books and the Making of an Imperial Commons / Antoinette Burton and Isabel Hofmeyr 1 1. Remaking the Empire from Newgate: Wakefield's A Letter from Sydney / Tony Ballantyne 29 2. Jane Eyre at Home and Abroad / Charlotte MacDonald 50 3. Macaulay's History of England: A Book That Shaped Nation and Empire / Catherine Hall 71 4. "The Day Will Come": Charles H. Pearson's National Life and Character: A Forecast / Marilyn Lake 90 5. Victims of "British Justice"? A Century of Wrong as Anti-imperial Tract, Core Narrative of the Afrikaner "Nation," and Victim-Based Solidarity-Building Discourse / Andre Du Toit 112 6. The Text in the World, the World through the Text: Robert Baden-Powell's Scouting for Boys / Elleke Boehmer 131 7. Hind Swaraj: Translating Sovereignty / Tridip Suhrud 153 8. Totaram Sanadhya's Fiji Mein Mere Ekkis Varsh: A History of Empire and Nation in a Minor Key / Mrinalini Sinha 168 9. C. L. R. James's The Black Jacobins and the Making of the Modern Atlantic World / Aaron Kamugisha 190 10. Ethnography and Cultural Innovation in Mau Mau Detention Camps: Gakaara wa Wanjau's Mihiriga ya Agikuyu / Derek R. Peterson 216 Bibliography 239 Contributors 261 Index 265

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Book SynopsisA. Aneesh uses India's call centers as sites to study the consequences of successful global integration. Call center work requires neutralizing racial, ethnic, and national identities, which causes a disintegration of self where the performance of one's neutralized identity serves the system of global markets.Trade Review"This insightful look at the underbelly of globalisation reveals a workplace that is sustained by the painful "differentiations" that have been imposed on its workers.... Where his critique of globalisation succeeds best is in creating a convincing framework that exposes the "disintegration of the self from its place of socialization and meaning" brought about by the mechanisms of globalisation, in which both global workers and consumers become entities targeted for profit." -- Lalita Murty * Times Higher Education *“Aneesh’s book is a delight to read. He writes with the ease and knowledge of a uniquely-positioned repeat ethnographer due to his long personal and intellectual investment in the region. His methodology includes not only interviews with workers and managers, but also his own experience as an employee at a call centre in Gurgaon. His empathy for and connection with the participants in his study allows readers to experience their aspirations and challenges too” -- Kiran Mirchandani * South Asia *"...this book is an excellent contribution to a growing and significant body of literature on globalizing processes and the Indian call center industry." -- J.K.T. Basi * American Journal of Sociology *"I got more than I bargained for as I found geography, law, marketing and biology also thrown into the discussion and Aneesh was providing me with a tour de force as a Renaissance man." -- Peter K.W. Tan * Asian Journal of Social Science *"Neutral Accent is a tightly argued and well-researched account of a dense and unruly phenomenon, and should be essential reading for scholars of globalization, work, virtuality, and identity." -- Mathangi Krishnamurthy * Anthropological Quarterly *"In Neutral Accent, Aneesh has produced a well-written, clear, and concise manuscript that unravels how communication actually works in so-called centers of cross-cultural interaction. He provides several important and creative contributions to our knowledge about globalization, inequality, identity construction, and work, and does so by locating the multiple disconnections that are reproduced when people of different groups virtually meet." -- Victoria Reyes * Contemporary Sociology *"Powerful . . . Neutral Accent admirably succeeds in A. Aneesh's stated objective to use the experiences of communication workers in India to broaden the analytical reach and critique the underlying assumptions of cultural studies, transnational feminism, and communication studies." -- Radha S. Hegde * Journal of Asian Studies *Table of ContentsAcknowledgments ix Prologue: One World, Diverse Itineraries 1 1. Glimpsing an Urban Future: Divergent Tracks of Gurgaon 13 2. Inside a Call Center: Otherworldly Passages 35 3. Neutral Accent 53 4. System Identities: Divergent Itineraries and Uses of Personality 77 5. Nightly Clashes: Diurnal Body, Nocturnal Labor, Neutral Markets 101 Epilogue: The Logic of Indifference 127 References 137 Index 151

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Book SynopsisJean Ma shows how the rise and domination of singing actresses—or songstresses—in Chinese cinema attests to the changing roles of women in urban modernity, the complex symbiosis between the film and music industries, and the distinctive gendering of lyrical expression.Trade Review“It is not that often that in a single volume, an author completely revolutionizes the way one looks at a subject. But that is what Ma (art and art history, Stanford) does in this volume, which is one of the most significant feminist historiographies of the past decade…. Required reading for anyone interested in film or Chinese culture in general.” -- G. A. Foster * Choice *"All in all, Sounding the Modern Woman is well worth close attention. It advances our understanding of the connections between the Shanghai and Hong Kong film industries as well as enriches the historical discourse as it indicates many points of continuity over not only the transition to sound cinema but also the tumultuous war years and the Cold War situation that followed." -- Andrew Stuckey * H-Asia, H-Net Reviews *"Ma’s masterly revelation of the fates of very real people and events that led to the making of these mythic icons of vitality, eros, and death, and the ambivalence with which she underscores their eventual fading from contemporary cinematic attention, makes this tome worthy of a place on the curious reader’s shelf." -- Shzr Ee Tan * Music, Sound, and the Moving Image *"Sounding the Modern Woman is an important examination of the songstress in pre-war Shanghai and post-war Hong Kong film and signals the importance of listening for the gendered meanings of history and popular culture – not just looking for them." -- Catherine Horne * Media International Australia *"Jean Ma’s book is more than a scholarly exploration of sound and music in Chinese cinema. . . . [W]ith attention to the timbre, expression, and on-and-off screen collaboration of female voices, this book breaks through the practice of textual analysis and spectatorship studies. In this respect, I regard Ma’s book as a significant feminist historical intervention." -- S. Louisa Wei * Pacific Affairs *"As the title suggests, Sounding the Modern Woman gives the songstress (including her silent ancestors and rebellious successors) a voice in the history of Chinese cinema. It is most certainly a thoughtfully researched, intellectually inspiring, and analytically eye-opening study of the songstress as a medium." -- Victor Fan * MCLC Resource Center *Table of ContentsAcknowledgments vii Introduction 1 1. A Songstress Is Born 31 2. From Shanghai to Hong Kong 71 3. The Little Wildcat 103 4. The Mambo Girl 139 5. Carmen, Camille, and the Undoing of Women 185 Coda 213 Notes 219 Chinese Films Cited 247 Bibliography 253 Index 267

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Book SynopsisJean Ma shows how the rise and domination of singing actresses—or songstresses—in Chinese cinema attests to the changing roles of women in urban modernity, the complex symbiosis between the film and music industries, and the distinctive gendering of lyrical expression.Trade Review“It is not that often that in a single volume, an author completely revolutionizes the way one looks at a subject. But that is what Ma (art and art history, Stanford) does in this volume, which is one of the most significant feminist historiographies of the past decade…. Required reading for anyone interested in film or Chinese culture in general.” -- G. A. Foster * Choice *"All in all, Sounding the Modern Woman is well worth close attention. It advances our understanding of the connections between the Shanghai and Hong Kong film industries as well as enriches the historical discourse as it indicates many points of continuity over not only the transition to sound cinema but also the tumultuous war years and the Cold War situation that followed." -- Andrew Stuckey * H-Asia, H-Net Reviews *"Ma’s masterly revelation of the fates of very real people and events that led to the making of these mythic icons of vitality, eros, and death, and the ambivalence with which she underscores their eventual fading from contemporary cinematic attention, makes this tome worthy of a place on the curious reader’s shelf." -- Shzr Ee Tan * Music, Sound, and the Moving Image *"Sounding the Modern Woman is an important examination of the songstress in pre-war Shanghai and post-war Hong Kong film and signals the importance of listening for the gendered meanings of history and popular culture – not just looking for them." -- Catherine Horne * Media International Australia *"Jean Ma’s book is more than a scholarly exploration of sound and music in Chinese cinema. . . . [W]ith attention to the timbre, expression, and on-and-off screen collaboration of female voices, this book breaks through the practice of textual analysis and spectatorship studies. In this respect, I regard Ma’s book as a significant feminist historical intervention." -- S. Louisa Wei * Pacific Affairs *"As the title suggests, Sounding the Modern Woman gives the songstress (including her silent ancestors and rebellious successors) a voice in the history of Chinese cinema. It is most certainly a thoughtfully researched, intellectually inspiring, and analytically eye-opening study of the songstress as a medium." -- Victor Fan * MCLC Resource Center *Table of ContentsAcknowledgments vii Introduction 1 1. A Songstress Is Born 31 2. From Shanghai to Hong Kong 71 3. The Little Wildcat 103 4. The Mambo Girl 139 5. Carmen, Camille, and the Undoing of Women 185 Coda 213 Notes 219 Chinese Films Cited 247 Bibliography 253 Index 267

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Book SynopsisNayoung Aimee Kwon examines the Japanese language literature written by Koreans during late Japanese colonialism. She demonstrates that simply characterizing that literature as collaborationist obscures the complicated relationship these authors had with colonialism, modernity, and identity, as well as the relationship between colonizers and the colonized.Trade Review"Besides many compelling analyses and arguments made in Intimate Empire, plentiful visual materials provide us a fascinating glimpse into the cultural fields in the empire.... it is a great contribution to the scholarship on colonial culture and imperialism for its exemplary handling of archives and its succinct arguments made based on comparative readings of texts. It is an essential text for researchers of colonial literature, transcultural colonial exchange, cultural fields in wartime Japan, and translation." -- Jooyeon Rhee * Acta Koreana *"Intimate Empire is a most welcome addition to transcultural scholarship on East Asian literatures and cultures and sets an excellent example for future research on imperialism in East Asia and well beyond." -- Karen Thornber * Pacific Affairs *"Intimate Empire establishes critical questions for historians to ponder, beginning with: Who writes the empire? How does the language they use matter? Kwon has demonstrated many pathways into, as well as offered new and alternate routes for, future discovery." -- Alexis Dudden * American Historical Review *"Nayoung Aimee Kwon’s examination of Korean authors during the Japanese imperial period is a richly theorized, sensitive, and engaging work of literary and colonial history." -- Denis Gainty * History: Reviews of New Books *"Kwon's book will become an instant classic of the postcolonial theory approach to colonial Korea's literary scene." -- Janet Poole * Journal of Asian Studies *Table of ContentsAcknowledgments ix On Naming, Romanization, and Translations xiii 1. Colonial Modernity and the Conundrum of Representation 1 2. Translating Korean Literature 17 3. A Minor Writer 41 4. Into the Light 59 5. Colonial Abject 80 6. Performing Colonial Kitsch 99 7. Overhearing Transcolonial Roundtables 131 8. Turning Local 154 9. Forgetting Manchurian Memories 174 10. Paradox of Postcoloniality 195 Notes 213 Bibliography 247 Index 263

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Book SynopsisNayoung Aimee Kwon examines the Japanese language literature written by Koreans during late Japanese colonialism. She demonstrates that simply characterizing that literature as collaborationist obscures the complicated relationship these authors had with colonialism, modernity, and identity, as well as the relationship between colonizers and the colonized.Trade Review"Besides many compelling analyses and arguments made in Intimate Empire, plentiful visual materials provide us a fascinating glimpse into the cultural fields in the empire.... it is a great contribution to the scholarship on colonial culture and imperialism for its exemplary handling of archives and its succinct arguments made based on comparative readings of texts. It is an essential text for researchers of colonial literature, transcultural colonial exchange, cultural fields in wartime Japan, and translation." -- Jooyeon Rhee * Acta Koreana *"Intimate Empire is a most welcome addition to transcultural scholarship on East Asian literatures and cultures and sets an excellent example for future research on imperialism in East Asia and well beyond." -- Karen Thornber * Pacific Affairs *"Intimate Empire establishes critical questions for historians to ponder, beginning with: Who writes the empire? How does the language they use matter? Kwon has demonstrated many pathways into, as well as offered new and alternate routes for, future discovery." -- Alexis Dudden * American Historical Review *"Nayoung Aimee Kwon’s examination of Korean authors during the Japanese imperial period is a richly theorized, sensitive, and engaging work of literary and colonial history." -- Denis Gainty * History: Reviews of New Books *"Kwon's book will become an instant classic of the postcolonial theory approach to colonial Korea's literary scene." -- Janet Poole * Journal of Asian Studies *Table of ContentsAcknowledgments ix On Naming, Romanization, and Translations xiii 1. Colonial Modernity and the Conundrum of Representation 1 2. Translating Korean Literature 17 3. A Minor Writer 41 4. Into the Light 59 5. Colonial Abject 80 6. Performing Colonial Kitsch 99 7. Overhearing Transcolonial Roundtables 131 8. Turning Local 154 9. Forgetting Manchurian Memories 174 10. Paradox of Postcoloniality 195 Notes 213 Bibliography 247 Index 263

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Book SynopsisIn this ethnography of sexual violence during the 1971 Bangladesh War for Independence, Nayanika Mookherjee shows how the public celebration of the hundreds of thousands of rape victimsâcalled birangonas by the stateâworks to homogenize and silence the experiences of these women.Trade Review"The Spectral Wound is an exceptional book. It has thoroughly explored its subject from every conceivable angle in such a way as to give it a real intellectual richness." -- Nardina Kaur * Economic and Political Weekly *"It is a pleasure to review books that offer an innovative reading of important areas of recent scholarship. Nayanika Mookherjee’s book throws an epistemic challenge to previous authors and interpretations on the subject." -- Rachana Chakraborty * Social History *"Mookerjee's exemplary and closely argued The Spectral Wound highlights the central conundrum of making wartime rapes public: heroism, implied and acknowledged by the designation birangona, can only be acquired by making your shame public....[An] uncommonly complex and delicately observed study..." -- Ritu Menon * Women's Review of Books *"[Mookherjee] asks, ‘What would it mean for the politics of identifying wartime rape if we were to highlight how the raped woman folds the experience of sexual violence into her daily socialities, rather than identifying her as a horrific wound?’ That is the central question of this powerful and perceptive book." -- Michael Lambek * Journal of the Royal Anthropological Institute *"Critical, reflective, and transformative to our understanding of gender violence, memory, and recuperation, Mookherjee’s extraordinary ethnography is undoubtedly essential reading for scholars and students of feminist theory, anthropology, Bangladesh, and South Asia studies." -- Elora Halim Chowdhury * Journal of Asian Studies *"Engaging and lucidly written, The Spectral Wound raises a host of theoretical and ethical considerations. How might we re-conceptualize the experience of wartime rape without reducing survivor subjectivities to their “wounds?” To whom is the feminist activist accountable? . . . This thoughtful and provocative text calls on the reader to revisit such dilemmas instead of taking the answers for granted." -- Dina M. Siddiqi * International Feminist Journal of Politics *"Nayanika Mookherjee’s research is important as a testimonial, a guide, and as a recovery of the individual experiences of those raped in 1971." -- Maitreyi * Dhaka Tribune *Table of ContentsForeword ix Preface: A Lot of History, a Severe History xv Acknowledgments xxi Introduction: The "Looking-Glass Border" 1 Part I 1. The Month of Mourning and the Languid Floodwaters: The Weave of National History 31 2. We Would Rather Have Shaak (Greens) Than Murgi (Chicken) Polao: The Archiving of the Birangona 47 3. Bringing Out the Snake: Khota (Scorn) and the Public Secrecy of Sexual Violence 67 4. A Mine of Thieves: Interrogting Local Politics 91 5. My Own Imagination in My Own Body: Embodied Transgressions in the Everyday 107 Part II 6. Mingling in Society: Rehabilitation Program and Re-membering the Raped Woman 129 7. The Absent Piece of Skin: Gendered, Racialized, and Territorial Inscriptions of Sexual Violence during the Bangladesh War 159 8. Imagining the War Heroine: Examination of State, Press, Literary, Visual, and Human Rights Accounts, 1971–2001 177 9. Subjectivities of War Heroines: Victim, Agent, Traitor? 228 Part III Conclusion. The Truth is Tough: Human Rights and the Politics of Transforming Experiences of Wartime Rape "Trauma" into Public Memories 251 Postscript: From 2001 until 2013 264 Notes 277 Glossary 291 References 293 Index 309

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