Cultural and media studies Books

Book SynopsisIreland and the North is an edited collection of chapters engaging with the relationship between Ireland and the Nordic countries. As a spatial and geographical point of reference for the formation of political and cultural identities in Ireland, the idea of «the North» encourages the identification of overlooked connections between Ireland and the Nordic countries, which, like Ireland, are also small nation states on the periphery of Europe. Importantly, the book employs a double conceptualisation of «the North» to include Northern Ireland. Moving beyond the nation state as a key framework for analysis of human activity, this collection engages with the transnational and transcultural in a mapping of connectivity and exchange. Relationships explored are imaginary and material exchanges, civic and personal linkages, literary adaptation and appropriation, transfers of cultural artefacts, political institutions and ideas. Chapters are drawn from a wide-ranging field of study that includes art history, literary history and theory, archaeology, antiquarianism, and media studies in addition to political analysis. With three sections on Material Culture, Political Culture and Print Culture, the book moves beyond the predominant literary paradigm in Irish Studies to make a significant contribution to expanding and developing the field. Table of ContentsCONTENTS: Ciaran McDonough: «Ireland and Denmark Are Specially to Be Named»: The Connections between Irish and Danish Antiquarians in the Nineteenth Century – Maria Panum Baastrup: Cultural Encounters Between the Vikings and the Insular West: Foreign Artefacts in the Hands of Vikings – Fionna Barber: Severance: Rita Duffy’s Paintings and the Affective Arctic – Stephen Joyce: Experiencing Northern Ireland as Game of Thrones Destination – Andrew Newby: «A True Friend of Scandinavia»: Michael Davitt’s Northern Travels of Summer 1904 – Sara Dybris McQuaid: Better Together? Comparative Perspectives on Regional Cooperation in the British-Irish and Nordic Contexts – Stephen Hopkins: Dublin Provisionals Remember the Northern Ireland «Troubles»: Irish Republican Memoir-Writing and Southern Perspectives – Eugene O’Brien: The Rhetoric of Grammar and the Grammar of Rhetoric: An Apophantic Reading of Seamus Heaney’s North – Anne Karhio: «Strange Woods and Seas»: W. B. Yeats, the Kalevala and Repurposing Folk Literature – Julie Anne Stevens: Reclaiming the Norse Myths: Padraic Colum’s The Children of Odin (1920) and the Keary Sisters’ The Heroes of Asgard (1871) – Eoghan Smith: Revivalism, Modernism and Beyond: Scandinavian Influences on Irish Literature – David Gray/John Foster: Freedom and the North: Constance Malleson’s Lifelong Pursuit.

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Book SynopsisBorn of the dream of fostering a new caste of writers from working-class ranks, the «Movement of Writing Workers» (Bewegung schreibender Arbeiter) offers a paradigmatic view of the successes and failures of attempts to implement a socialist cultural revolution in the German Democratic Republic (GDR). The abstract tenets of Marxist teleology and state-sponsored programmes ascribed to «writing workers» a central position in the efforts to overcome class divisions, educational privilege and, ultimately, the distinctions between workers and intellectuals, art and labour. This study, based largely on original archival research, traces the historical background and development of this major cultural initiative. It undermines the notion of servile obedience to Soviet direction in East German cultural affairs and displays the discrepancies between the official rhetoric of the ruling communist party and the realities of popular cultural participation. While there existed over 200 «Circles of Writing Workers» in the GDR – also known as «socialist literary salons» – the four case studies featured here highlight their diversity and stake out the broad parameters of state-sponsored literary production in East Germany.Table of ContentsCONTENTS: Theoretical Underpinnings: Between Myth and Reality – The Question of Soviet Influence – Cultural Heritage and Political Legitimacy – A Socialist Culture: According to Plan – Establishing State Structures and Consolidating Political Power in the 1950s – Culture by Decree: The Twelve Point Plan – Klassenkampf and Volkskunst: Compromises and Concessions in the Early 1960s – Achieving Successes – The District of Halle: Cradle of the BSA – On the Nature of Circle Work – The BSA between Social Revolution and Popular Participation –«Unorganized» Amateur Writers outside the State Fold.

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Book SynopsisDocumentary, in a small, bilingual nation such as Wales, experiences many of the same challenges that it faces across the world. As the costs of professional documentary production lessen, and the potentialities of internet distribution loosen the grip of its traditional tele-cinematic gatekeepers, documentary production communities face both the potential of new distribution avenues and severe professional precarity. In Wales, the dynamics of this transformation unfolds according to a specific historical, political and cultural situation. With funding, regulatory frameworks, audience taste, viewing figures, and contractual territories all mostly emanating or controlled from across the border in England, at times it is difficult to identify texts that can and can’t be claimed as «Welsh». But then again, contingency and struggle have always been fundamental aspects of Welsh cultural identity. What emerges is not so much the documentary culture of a small nation, but a documentary culture that is still struggling to come to terms with itself, giving Welsh documentary a character defined by a specific set of features: the political and cultural interplay of two languages, a continuation of older British public service broadcasting traditions, the acceptance of the marginal, the close interconnectedness of key players and the often paralysing effect of underfunding.Trade Review«This timely volume presents a series of thoughtful articles by a diverse group of practitioners and academics that explore and extend our understanding of the complexity of the term ‹Welsh documentary›. Engaging and eloquently argued, this is essential reading, a landmark in the literature on cinema and broadcasting in Wales.» (John Burgan, MetFilm School, Berlin and Zelig School for Documentary, Television and New Media (Bozen/Bolzano)) «When identity politics coincided with the growth of television, analysis of what it means to be Welsh was done on screen. Documentary makers captured a small, complex country with an evolving political, social and linguistic identity. This is a must-read on the power of the documentary maker to analyse and influence thinking.» (Professor Dame Elan Closs Stephens, Non-Executive Director of the BBC and Pro-Chancellor of Aberystwyth University)Table of ContentsCONTENTS: Dafydd Sills-Jones/Elin Haf Gruffydd Jones: Documentary in Wales: Cultures and Practices – Dafydd Sills-Jones: Anorac: Locating «Feature Doc» in the Documentary Ecology of Cymru–Wales – Elin Haf Gruffydd Jones: Representing Sociolinguistic Reality in a Minoritized Language: S4C, Documentary and «Translanguaging» – John Geraint: Making History: The Story of Wales – Representing the Nation – Geraint Ellis: Arts for All?: S4C, Arts Documentaries and the Notion of Quality – Iwan England: Embracing Complexity: Aberfan: The Fight for Justice – Colin Thomas: Rethinking Documentary: Wales and the British Documentary Tradition – Nia Dryhurst: Creative Documentary?: Csikszentmihalyi’s Systems Model and Documentary Production in Wales – Greg Bevan: Activism and Online Documentary: The Life and Death of Sianel62 – Helen Davies/Merris Griffiths: Capturing Youth Voices: Participatory «Social Network Documentary» Production and Political Engagement in a Small Nation – Anne Marie Carty: Authorship, Representation and Ethics: Collaborative Filmmaking with Rural Communities in Wales – Joanna Wright: Interactive, Immersive and Digital Documentary Practice in Wales: A Work in Progress.

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Book SynopsisThe relation between the digital and the collective has become an urgent contemporary question. These collected essays explore the implications of this relation, around the theme of #NousSommes. This hashtag marks the point where the «personal» modalities of social media have become embroiled in collective expressions of unity, solidarity and resistance. As this volume demonstrates, the impact of this cannot be isolated to the internet, but affect philosophy, literature, cinema, politics and the public space itself. The contributors approach the issue of #NousSommes from a diverse range of disciplines and methodologies, bringing out both the continuity and discontinuity with other forms of collective expression. Important contemporary philosophers such as Nancy, Derrida and Deleuze are engaged here, as are issues of ecology, community, automation, postcolonial identity and addiction. Featuring eight academic essays and an interview, this volume testifies to the importance of French philosophy and culture in understanding the digital and the collective today.Table of ContentsCONTENTS: Susie Cronin/Sofia Ropek Hewson/Cillian Ó Fathaigh: Introducing #NousSommes – Patricia MacCormack: «Who is this we that is not me?»: Ecosophical Ethics – Solange Manche: #WeAreTheEarth: Rethinking Ecology and Community: The Case of Humanist Anarchism – Boubé Yacouba Salifou: Je suis Charlie: entre émotion et identité sociopolitique – Alexandre Leskanich: «The metamorphosis of the world into man»: The Anthropocene and the Historical Administration of Human Identity – Jack Coopey: Walter Benjamin’s Arcades Project as the #NousSommes of Social Media – Marie Chabbert: Liberté, égalité … Totalité? Décrypter les dangers de #JeSuis avec Jean-Luc Nancy – Benoît Le Bouteiller: Un nous contemporain: réseaux sociaux, discours nouveau et addiction – Marianne Godard: La communauté comme passage: l’éthique du poème d’Henri Meschonnic – Andrea Perunovic: #NousSommes: refondation onto-axiologique de la confiance – #NousSommes and Automatic Politics: An Interview with Martin Crowley

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Book Synopsis Migration is most concretely defined by the movement of human bodies, but it leaves indelible traces on everything from individual psychology to major social movements. Drawing on extensive field research, and with a special focus on Italy and the Netherlands, this interdisciplinary volume explores the interrelationship of migration and memory at scales both large and small, ranging across topics that include oral and visual forms of memory, archives, and artistic innovations. By engaging with the complex tensions between roots and routes, minds and bodies, The Mobility of Memory offers an incisive and empirically grounded perspective on a social phenomenon that continues to reshape both Europe and the world.Trade Review “The fieldwork that these authors have carried out for several years makes this book’s insights particularly valuable. Art and images are used in a rich and experimental way to discuss human rights struggles, narratives of memory and identity, changes needed in conceptualising identity and language, and more horizontal ways to address contemporary migration in education.” • Margaret Tali, University of GroningenTable of Contents List of Illustrations Acknowledgments Preamble: The Mobility of Memory in the Context of Intersubjectivity Luisa Passerini Introduction: Europe and Beyond Milica Trakilović and Gabriele Proglio Part I: Mobility Framed by Language: Constraints and Possibilities Chapter 1. Between “Fleeing” and “Taking Flight”: Negotiating the Refugee Label Milica Trakilović Chapter 2. “Languages of Mobility/Mobility of Languages”: Between Words and Imagery Giada Giustetto Part II: Transcultural Subjectivities in Educational Settings Chapter 3. Represented Bodies, Broken Bodies: Visions of Transnational Subjectivities and Memories among Italian Students Graziella Bonansea Chapter 4. Transcultural Itineraries and New Literacies: How Memories Could Reshape School Systems Emmanuelle Le Pichon-Vorstman, Sergio Baauw, Debbie Cole, Suzanne Dekker, and Marie Steffens Part III: Diasporic Memories and Archival Trajectories Chapter 5. Conceptualizing Diasporic Memory: Temporalities and the Geography of Emotions in Eritreans’ Oral Tales Gabriele Proglio Chapter 6. Eva Nera Reloaded: An Archive in the Making Liliana Ellena Part IV: Visualizing Memory and Resistance Chapter 7. Counter-Images of Migration: (Visual) Memories of Refugee Migration That Resist an Anti-Immigrant Discourse Iris van Huis Chapter 8. Visualizing Violence: Political Imaginations from the Syrian Diaspora in the Netherlands Sara Verderi Epilogue: Bodies Crossing Borders Rosemarie Buikema Index

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Book Synopsis Though long associated with a small group of coffeehouse elites around the turn of the twentieth century, Viennese “modernist” culture had roots that reached much further back and beyond the rarefied sphere of high culture. In Comical Modernity, Heidi Hakkarainen looks at Vienna in the second half of the nineteenth century, a period of dramatic urban renewal during which the city’s rapidly changing face was a mainstay of humorous magazines, books, and other publications aimed at middle-class audiences. As she shows, humor provided a widely accessible means of negotiating an era of radical change.Trade Review “Hakkarainen’s study is grounded in a solid knowledge of the secondary literature on modernity and theories of humor. One of her important claims is that… while humorists poked fun at various aspects of the Viennese urban modernity in the making, humor itself was a product of this early modernity.” • H-Habsburg “This book makes an important contribution in demonstrating the deep roots of Vienna’s modernist culture outside of the high culture that has heretofore received so much attention. The author’s analysis of humor journals’ female readership, which she does by way of their pseudonymous participation in the readers’ columns, is also much appreciated. Hakkarainen’s book will be of great interest to gender, Habsburg, Jewish, and urban historians, as well as those interested in Vienna more generally.” • Central European History “Through her penetrating and compelling analysis of humor in connection with the physical expansion of Vienna as a city and the shifting identity models based on gender, class, religion and ethnicity, Heidi Hakkarainen identifies a blend of elements that produced a specifically Viennese humor.” • Dagmar C. G. Lorenz, University of Illinois at Chicago “This impressive and illuminating book represents thoughtful engagement in a wide range of discourses about what it means to be modern, but also opens up questions about what is particularly “Viennese.” It helps us learn about the city through senses that are often ignored—smells, tastes, slights and frustrations, but also moments of levity.” • Britta McEwen, Creighton UniversityTable of Contents List of Figures Acknowledgements Introduction Chapter 1. Power and Space Chapter 2. Tensions with City Authorities Chapter 3. City out of Control Chapter 4. Knowing the City Chapter 5. Urban Types and Characters Conclusions Bibliography Index

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Book Synopsis Recent world-wide political developments have persuaded many people that we are again living in what Hannah Arendt called “dark times.” Jackson’s response to this age of uncertainty is to remind us how much experience falls outside the concepts and categories we habitually deploy in rendering life manageable and intelligible. Drawing on such critical thinkers as Hannah Arendt, Theodor Adorno, Walter Benjamin, and Karl Jaspers, whose work was profoundly influenced by the catastrophes that overwhelmed the world in the middle of the last century, Jackson explores the transformative and redemptive power of marginalized voices in the contemporary conversation of humankind.Trade Review “Through trenchant analysis and interplay of such thinkers as Hannah Arendt, Zora Neale Hurston, and Theodor Adorno, he exposes how these survivors of trauma unpack the complexity of identity formation, the act of identifying, and the tendency to use categories to control complicated human standpoints…This book could be useful for courses in anthropology, philosophy, contemporary literature, and sociology. – Recommended.” • Choice “…a brilliant, masterful, and urgent book.” • Reading Religion “It is Jackson’s unmatched ability to pay attention to the details of human life using seemingly mundane interactions as the basis for developing a philosophy of human existence that makes his work so compelling to read and think with. Throughout the book, Jackson shows that he is not just a master of existential dialectical thinking, but also of existential dialectical writing…As a growing number of anthropologists are attempting to make sense of the breakdown in trust and understanding that increasingly characterizes socio-political spaces across the world, Critique of Identity Thinking offers crucial theoretical and epistemological guidance in troubled times.” • Zeitschrift für Ethnologie “Critique of Identity Thinking contains a wisdom, which comes from a lifetime of reading, writing, and doing ethnography, and it is a reminder of the redemptive power of not distinguishing so clearly between biography and ethnography as well as between science and art.” • Conflict & Society “The author is a master weaver. The tapestry he offers draws together many threads. Its colors are dusky and subdued. It is a dark work, the inspiration and provocation of which is the darkness of the times in which we presently live… a masterpiece.” • James Faubion, Rice UniversityTable of Contents Acknowledgements Introduction Chapter 1. Mistaken Identities: The Task of Thinking in Dark Times Chapter 2. Radical Empiricism and the Little Things of Life Chapter 3. The Witch as a Category and as a Person Chapter 4. The New Materialisms Chapter 5. Words and Deeds Chapter 6. Critique of Cultural Fundamentalism Chapter 7. Existential Scarcity and Ethical Sensibility Chapter 8. Identification and Description: An Essay on Metaphor Chapter 9. Islam and Identity among the Kuranko Chapter 10. In Defense of Existential Anthropology Notes Index

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Book Synopsis Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. This innovative study locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.Trade Review “…a tightly argued and well written book.” • Slavic Review “Velvet Retro insightfully contextualizes, and complicates our understanding of, post-socialist nostalgia in Czech popular culture, and offers a prescription for similar work across the former Soviet bloc… Representations of the communist past in film, literature, and consumer culture both reflected and inflected memory politics, as well as individuals’ efforts to situate themselves in both past and present. Pehe shows us that nostalgia isn’t always what we think it is. Nor was the communist past. Our rose-colored glasses shift shades, and meanings, as time passes.” • Journal of Modern History “Veronika Pehe’s Velvet Retro is a highly sophisticated contribution to the understanding of how post-communist Czech Republic relates to the last period of the communist era. Usefully, the author reminds us that our understanding of our past is always influenced by the present. She also rightly warns us that our constructions of the past are always subjective, and this is why a pluralist view of history is necessary.” • Studies in Eastern European Cinema “Pehe’s velvet retro argument is a compelling new take on memory politics in postsocialist Eastern Europe, and the book is very much a work of cultural studies…a well-argued book that scholars of postsocialism will find of great interest.” • Journal of Contemporary History “[The volume] constitutes a highly valuable contribution to the literature on the memory of the socialist past and the elements of nostalgia and retro in this memory. It also offers a new, more reflective, analytical reading of nostalgia by introducing an analytical understanding of ‘retro’ and the ‘remains of socialism’.” • H-Soz-Kult “Velvet Retro draws surprising and illuminating connections between various aspects of postsocialist culture and politics. It innovatively combines the history of popular culture, film and literary studies, memory studies, and comparative nationalism to establish a novel connection between retro aesthetics and postsocialist political culture.” • Pavel Kolář, University of Konstanz “A wide-ranging record of the cultural causes célèbres in the Czech Republic since the fall of Communism, this book studies what they show about how Czech artistic and media elites and the general public have chosen to commemorate the Communist period. It usefully resonates with the perceived disconnect—currently widespread internationally—between a metropolitan elite and the masses.” • Rajendra Chitnis, University College, OxfordTable of Contents Illustrations Acknowledgements List of Abbreviations Introduction: Returning to the Past Chapter 1. Painting the Past Black and White: Czech Anticommunism after 1989 Chapter 2. The Past as Comedy: Representing Socialism in the 1990s Chapter 3. The Late 1990s: Contesting the Past through Popular Culture Chapter 4. Petty Heroism: Nostalgia for Resistance Chapter 5. The Politics and Aesthetics of Retro Chapter 6. Changing Memory Landscapes in the 2000s Conclusion: Socialism Remembered Bibliography Index

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Book Synopsis “A meticulous and shattering investigation of eight horrific pictures…”—L’Arche In December 1941, on a shore near the Latvian city of Liepaja, Nazi death squads (the Einsatzgruppen) and local collaborators murdered in three days more than 2,700 Jews. The majority were women and children, most men having already been shot during the summer. The perpetrators took pictures of the December killings. These pictures are among the rare photographs from the first period of the extermination, during which over 800 000 Jews from the Baltic to the Black Sea were shot to death. By showing the importance of photography in understanding persecution, Nadine Fresco offers a powerful meditation on these images while confronting the essential questions of testimony and guilt. From the forward by Dorota Glowackay: Straddling the boundary between historical inquiry and personal reflection, this extraordinary text unfolds as a series of encounters with eponymic Holocaust photographs. Although only a small number of photographs are reproduced here, Fresco provides evocative descriptions of many well-known images: synagogues and Torah scrolls burning on the night of Kristallnacht; deportations to the ghettos and the camps; and, finally, mass executions in the killing fi elds of Eastern Europe. The unique set of photographs included in On the Death of Jews shows groups of women and children from Liepaja (Liepája), shortly before they were killed in December 1941 in the dunes of Shkede (Škéde) on the Baltic Sea. In the last photograph of the series, we see the victims’ bodies tumbling into the pit.Trade Review Praise for the French and Polish editions: “A great and shattering book.” • Jan T. Gross “Emotion, sensitivity, and suffering are not the enemies of precision or historical rigor and can sometimes make it more substantial, even more accurate. This is what Nadine Fresco manages to do with strength and brilliance, through a steady effort of writing, in this moving book.” • Politis “A meticulous and shattering investigation of eight horrific pictures, in which the progressive revelation of the truth is reminiscent of Daniel Mendelssohn’s The Lost: A Search for Six of Six Million.” • L’Arche “Around the pain, the anguish, the astonishment, the shame, the refusal to see, Nadine Fresco, with all her resources as a historian, delicately undertakes to build a shelter made of arguments, research on facts, deeds, and words. She envelops the horror while revealing it, and she shelters past sufferings as well as the one she awakens in the reader.” • La Quinzaine littéraire “Fresco skillfully guides us from the flat surface of photography to the depths of the victims’ experience—their humiliation, loneliness, suffering, and death. A fascinating essay about the cognitive, aesthetic, and moral dilemmas of the photographic representation of the Holocaust.” • Jacek LeociakTable of Contents List of Illustrations Foreword Dorota Glowacka List of Abbreviations On the Death of Jews Select Bibliography

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Book Synopsis Situated on Europe’s northern periphery, Denmark, Finland, Iceland, Norway, and Sweden found themselves caught between warring powers during World War II. Ultimately, these nations survived the conflict as sovereign states whose wartime experiences have profoundly shaped their historiography, literature, cinema and memory cultures. Nordic War Stories explores the commonalities and divergences among the five Nordic countries, examining national historiographies alongside representations of the war years in canonical literary works, travel writing, and film media. Together, they comprise a valuable companion that challenges the myth of Scandinavian homogeneity while demonstrating the powerful influence that the war continues to exert on national identities.Trade Review “"As a whole, this is an interesting anthology that participates in opening a very fertile area of research. Its comparative approach brings many new elements into play that can contribute positively to the national approaches of previous studies” • Edda “The volume makes an important contribution to understanding how the mass media in particular shaped the (nation-state) memory of the Second World War in a region of Europe that is mostly out of focus.” • Clio-Online “The Nordic nations all had different and contrasting experiences of the Second World War. Not only did this condition the memories of contemporaries, but it also led to different ways of portraying the wartime experience that would lead to creating and sustaining both existing and new memories for ensuing generations. This book contains excellent accounts of how this work of memory was done in the five nations and it continues to influence their societies today. There is much for cultural historians to value in this volume, but international historians will also find a plentiful amount to add to their understanding of not only the Second World War but of the decades that followed.” • History “The fascinating chapters in Nordic War Stories reveal the vastly different fates of the five Nordic countries concerning occupation, resistance, neutrality and engagement.” • Marianne N. Soleim, The Arctic University of NorwayTable of Contents List of Illustrations Editor’s Acknowledgements Editor’s Introduction Marianne Stecher-Hansen Part I: War Historiography Chapter 1. Finland in World War II—Tragedy, Survival, and Good Wars Juhana H. Aunesluoma Chapter 2. Danish Historical Narratives of the Occupation—The Promises and Lies of April 9th Sofie Lene Bak Chapter 3. The Norwegian War Experience—Occupied and Allied Tom Kristiansen Chapter 4. The Icelandic National Narrative and World War II—“Freedom and Culture” Guðmundur Hálfdanarson Chapter 5. Sweden’s Ambiguous War—Contradiction and Controversy John Gilmour Part II: War Literature – Archive Chapter 6. Karin Boye as Ambivalent Spectator of Fascism Amanda Doxtater Chapter 7. Isak Dinesen in Hitler’s Berlin—Neutrality’s Cloak in “Letters from a Land at War” Marianne Stecher-Hansen Chapter 8. Sigrid Undset’s Problematic Propaganda – The Call for Democracy in Return to the Future Christine Hamm Part III: War Literature – Canon Chapter 9. Hans Christian Branner—Angst and the Existential Crisis of War in Denmark Mark Mussari Chapter 10. Crises of Memory in Norway’s Occupation Novel—Sigurd Hoel’s Meeting at the Milestone Dean Krouk Chapter 11. The Battle over Finnish Cultural Memory of War—Väinö Linna’s The Unknown Soldier Julia Pajunen Chapter 12. Investigating Sweden’s Postwar Neutrality—Ethics in Per Olov Enquist’s The Legionnaires Jan Krogh Nielsen Chapter 13. The Allied Occupation of Iceland—Indriði G. Þorsteinsson’s North of War Daisy Neijmann Part IV: War Cinema – Remembering and Forgetting Chapter 14. Somewhere in Sweden – Quality Fiction and Popularized History in the World War II Television Series Erik Hedling Chapter 15. Icelandic Cinema and the American Military Presence – The Girl Gogo, Atomic Station, and Devil’s Island Pétur Valsson Chapter 16. War Memory, Compassion, and the Finnish Child – Klaus Härö’s Mother of Mine Liina-Ly Roos Chapter 17. The War Film as Cultural Memory in Denmark – April 9th and Land of Mine Marianne Stecher-Hansen Chapter 18. Acts of Remembering – Audiovisual Memory and the New Norwegian Occupation Drama Gunnar Iversen Chapter 19. Finland Returning to War on Screen – The Unknown Soldier of 2017 John Sundholm Editor’s Epilogue Marianne Stecher-Hansen Index

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Book SynopsisSlow TV has become a familiar feature of broadcasting in Norway. It refers to a set of programmes produced by the Norwegian Broadcasting Corporation (NRK) since 2009, starting out with a seven-hour broadcasting of the train ride between Bergen and Oslo. The concept of slow TV and ‘minute-by-minute’ broadcasting was developed so that the event on television lasts as long as in real time. Several broadcasters outside Norway, including BBC Four, YLE, SRF and Netflix, have now taken up the concept of slow TV. The first study of this genre, this highly original book explores three different aspects of the phenomenon of slow TV: the perspective of the broadcaster, the perspective of the producers and other actors involved in the production of the programme, and that of the audience. It goes beyond the question of genre and considers how slow TV fits into television scheduling and how the audience appeal can be understood within broader concepts such as media events, media tourism, reception and national identity. Public service broadcasters can be seen as having more opportunity to experiment, and slow TV can be seen as a good example of public service programming. What attracts viewers to the programmes is that they invite a contemplative mode of watching: there is a chance to see something unexpected, or to be introduced to interesting new things. Illustrated throughout in full colour, using stills from broadcast programmes. This book will appeal primarily to an academic readership, both researchers and students. Most readers are likely to be involved with media and communication studies, cultural studies and film studies. It will also be of interest more generally to the humanities and social sciences fields as it touches on topics such as national and local identity, popular culture, Nordic lifestyle, well-being, tradition, community and popular culture.Trade Review'One of the strengths of the book is the way perspectives on greater topics, such as the dualism of nature and culture, national identity, the concept of time, are combined with close analyses of the experience of liveness and the practical and aesthetic choices behind the productions, right down to the choice of cameras and other equipment. While three programmes are studied in detail, the book also provides an overview of developments and contextualisation, thus providing perspectives that are relevant for slow TV outside Norway, as well as television production more generally. [...] The book is richly illustrated, has a lot of informative tables, and is clearly structured and well-written throughout. [...] This will probably be the defining book on the topic since it covers so many aspects of the production, reception, contents, and aesthetics of these programmes.' -- Anne Gjelsvik, Critical Studies in Television'[The book] offers theoretical and applied guidance for students interested in public broadcasting, with useful and interesting data from all three sides of the media industry/text/audience triangle. Additionally, this book can be an inspiring jumping off point for scholars who are interested in the burgeoning topics of sustainable TV (which Puijk has also published on) or in pushing forward the relationship between public service broadcasting and ideology. Slow TV by Puijk is an important foundational text on a certainly understudied TV genre which will help support the work of public broadcasting scholars.' -- Courtney D. Tabor, Television & New MediaTable of ContentsPreface Introduction Slow TV – a public service concept? Slow TV as media event - Hurtigruten Skibladner: Slow TV and Media Tourism Mountain hiking – minute by minute Audience response to slow-TV Conclusion List of interviews

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Book SynopsisThis original new book researches into the praxis of this democracy and its media, delving into Ghana’s evolvement, media practice, leadership aspirations, pressure group politics and ethnic and tribal cleavages. Written in accessible language it will provide valuable source material for readers interested in the development of a democratic culture. A rich data source for students, scholars and researchers on both the African continent and in the diaspora, it examines the growing influence of social media in political discourse and provides an insightful analysis on debates surrounding political communication and its implications for strengthening democratic culture. Its intention is to challenge the intellectual rigour of scholars, academics, researchers and students. The analytical frames it offers are to generate intellectual discourses. Provides an overview of the history of the press in Ghana and how that has shaped the current media landscape, and draws attention to the growing influence of social media in political messages and debate. The historical analysis of the political situation of Ghana and its relationship to the press is informative, comprehensive and stimulating to read. Ideas discussed are revealing and relevant to current discussions on the contributions of the media to the growth and development of democracy in Ghana in particular – and in Africa as a whole. The unusual and highly original comparative analytic approach used here is in dealing with the media-democracy paradox through comments and analysis that challenges the orthodoxy of western idealism. The discussion of media and democracy, with private and state media operating side-by-side in a multiparty democratic setting regulated by a constitution, adds significantly to the wider field of knowledge on the media and democracy. Primary audience will be academics, scholars, researchers and students – undergraduate and postgraduate – in the humanities and social sciences. Of particular relevance to those in media and communication studies, political science, journalism, cultural studies, postcolonial studies, and historians whose research interests include Ghana. Also relevant to those with an interest in democracy and development, to media advocacy institutions and policy makers, and to media development experts.Table of ContentsPreface vii Acknowledgements xii List of Abbreviations xiii 1. Theorizing Media and Democracy 1 2. Media Ownership and Control 31 3. The African Perspective of Media and Democracy 48 4. African Governance System and Democracy 67 5. The Early Press, Nkrumah and Nationalism 86 6. Military Adventurism, Democrats and the Media 100 7. Media and Communication Ethics 115 8. Monopoly to Pluralism: Radio and Television 134 9. Social Media and Democratic Elections 149 10. Conclusion 166 Bibliography

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Book SynopsisThe first in the Media-Life-Universe trilogy, this volume explores a transdisciplinary notion of media and technology, exploring media as technology, with special attention to its material, historical and ecological ramifications. The authors reconceptualize media from environmental, ecological and systems approaches, drawing not only on media and communication studies, but also philosophy, sociology, political science, biology, art, computer science, information studies and other disciplines. Featuring a group of internationally known scholars, this collection explores evolving definitions of media and how media technologies are transforming theory and practice. As the current media includes a wider and wider range of concepts, products, services and institutions, the definition of media continues to be in a state of flux. What are media today? How is media studies evolving? How have technologies transformed communication and media theory, and informed praxis? What are some of the futures of media? The collection challenges traditional notions of media, as well as concepts such as freedom of expression, audience empowerment and participatory media, and explores emergent media including transmedia, virtual reality, online games, metatechnology, remediation and makerspaces. This is the first volume in the MEDIA • LIFE • UNIVERSE Trilogy. LIFE: A Transdisciplinary Inquiry 9781789382655 follows and builds upon this 2021 collection. Trade Review'The creative imagination of this book is astonishing. The brilliance of transdisciplinarity in these intellectually innovative chapters represents a historic turning point in media theory and research. Instead of timid steps, we need to urgently reconceptualize mediation, systems, networks, platforms, criticism, and materiality. This collection is an educational earthquake.' -- Clifford G. Christians, University of Illinois at Urbana-Champaign'Bringing together the natural and exact sciences, humanities and arts, this volume puts forward unexpected conceptual conversations, puzzling inquiries, and dynamic lines of action. Its key motivation is to challenge scholars, students, and the public based on vision, solid knowledge and imagination. This book could not be more timely!' -- Helena Sousa, University of Minho, Portugal'With a stellar cast of contributors, this insightful volume urges us to reimagine how media can be understood and reconceptualized as more than merely technological artifacts in isolation. The time is right for scholarship and praxis to move beyond binaries and reductions toward magnifying complexity, thus strengthening our critiques.' -- Karin Gwinn Wilkins, University of Miami'Critical, multifaceted and eye-opening, this kaleidoscopic volume illuminates the past, present and future of communication and media studies. Democratize media or face increasing existential crises — the struggle goes on. This book will be a definitive meeting place for concerned scholars, citizens and activists alike.' -- Jack Linchuan Qiu, National University of Singapore'This volume contributes exceptional scholarly insights and a significant force urging us to think and act critically, moving beyond narrow conceptualizations. It brings opportunities to build new conversations and encourage cross-cultural inquiries. A must-read piece of contemporary scholarly work.' -- Changfeng Chen, Tsinghua University, China'Spanning historical perspectives, contemporary concerns, and practical agendas, this volume provides an essential starting point for a transdisciplinary conversation on media and communication as both objects and modes of inquiry.' -- Klaus Bruhn Jensen, University of Copenhagen, Denmark'If the editors set out to shake up tried and true approaches to understanding media, they have succeeded. This assemblage is an open-ended universe of starting and ending points, patterns, and paradigms. Underlying it all is a quest for advancing towards not more entertaining consumer goods, but more full-throated democratic and just communities.' -- Lana F. Rakow, University of North Dakota'What are media and their significance in the contemporary complexity of culture, social life, environment, and power today? This provocative book offers cross-cutting and panoramic views on a topic essential to us all. An elegant, compelling, and must-read first installment of an emerging trilogy.' -- Gerard Goggin, Nanyang Technological University, SingaporeTable of ContentsPreface to a Trilogy Introduction Genealogy ‘When Multimedia Meant Democracy’, Fred Turner ‘Four Reporting Cultures: Designing Humans In and Out of the Future of Journalism’, John Markoff ‘Dark Materials: Media, Machines, Markets’, Graham Murdock Meanings of Media ‘A Community of Media: There Is a There There’, Sean Cubitt ‘Media as Cultural Techniques: From Inscribed Surfaces to Digitalized Interfaces’, Sybille Kramer ‘Understanding “Medium” in the Context of the Media Ecology Tradition’, Lance Strate Organs and Organization ‘Between Media Studies and Organizational Communication: Organizing as the Creation of Organs’, François Cooren and Frédérik Matte ‘Paradigms for Creative Industry Research’, Angela McRobbie ‘The Politics of Mediation: Colonization to Co-Generative Democracy’, Stanley Deetz Engagement and Extensions ‘Phantasmal Selves: Computational Approaches to Understanding Virtual Identities’, D. Fox Harrell ‘Calm Technology/Media and the Limit of Attention’, Amber Case ‘The Next Internet’, Vincent Mosco Biomediations ‘Biological Dimensions of Media Ecology and Its Relationship to Biosemiotics’, Robert K. Logan ‘Biomediations: From “Life in Media” to “Living Media”’, Joanna Zylinska ‘Lynn Hershman Leeson: The Infinity Engine’, Ingeborg Reichle Repair and Metamedia ‘No Issues Without Media: The Changing Politics of Public Controversy in Digital Societies’, Noortje Marres ‘The Poetics and Political Economy of Repair’, Steven J. Jackson and Lara Houston ‘Metamedia’, Jeremy Swartz Appendix: Exhibition • Experience • Music Notes on Contributors Index

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Book SynopsisPrior to 2000, it was a criminal offence to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with the corrupt Obscene Publications Squad permitting them to trade. By the late 1960s, Britain had developed an international reputation for producing ‘rollers’, short films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market. Under the Counter is the first book of its kind to investigate Britain’s trade in illicit pornographic 8mm film. Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation, incorporating ideas from cultural studies, political economy, history and criminology. Under the Counter is a scholarly monograph that will be of interest to researchers across a wide range of disciplines and will be of use to students at undergraduate, Masters level and PhD. The book will be of particular relevance to students and researchers interested in the study of pornography, sexual cultures, illicit media enterprise and entrepreneurship, but also those with an interest in film production and distribution, particularly within a British context. The theoretical frameworks that underpin the book mean that researchers with an interest in the creative industries will be able to make use of it and the book makes a contribution to media and cultural history. It is suitable for use on university courses relating to these specific areas, specifically media and communication, film studies, creative industries, and potentially on criminology or socio-legal studies, given the books attention to obscenity law and regulation of illicit practices.Table of ContentsList of Figures Acknowledgements List of Characters Prologue: I Was a Teenage Porn Dealer Introduction: Tonight at 8 1. Carnaby Kinks: Obscenity, Permissiveness and the Dirty Square Mile 2. Fisherman’s Luck: Making the Roller Market (1960–65) 3. Up, Up and Away: Entrepreneurship in Britain’s Expanding Roller Trade (1966–69) 4. House of Mirrors: Regulating the Roller Trade (1970–73) 5. Strip Poker: Distributing Hardcore Films in Britain (1973–83) Conclusion Epilogue: Truth or Dare Appendix 1: Labelography Appendix 2: List of Rollers Seized from John Mason’s Dean Street Office, 1 July 1969 Notes Bibliography Index

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Book SynopsisChandragupta Maurya is a national hero in India, an ancient icon who vanquished the foreign invader. But sources for conflict between Mauryan and Seleucid empires are contradictory, enabling divergent interpretations of Chandragupta''s victory or defeat, depending on who was telling the story, and why. This book charts a path through the confusion.

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Book SynopsisChandragupta Maurya is a national hero in India, an ancient icon who vanquished the foreign invader. But sources for conflict between Mauryan and Seleucid empires are contradictory, enabling divergent interpretations of Chandragupta''s victory or defeat, depending on who was telling the story, and why. This book charts a path through the confusion.

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Book Synopsis Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.Table of Contents List of illustrations Foreword Nanasipauʻu Tukuʻaho Acknowledgements Introduction: Engaging the Visual in Dance and Music Brian Diettrich and Kendra Stepputat Part I: Gaining Insights through Dance Visualizations Chapter 1. Kinetic Songscapes: Intersensorial Listening to Hula Kuʻi Songs Kati Szego Chapter 2. Using Motion Capture to Access Culturally Embedded and Embodied Movement Knowledge: A Case Study in Tango Argentino Kendra Stepputat Chapter 3. Transcription and Description: Tasks for Dance Research Egil Bakka Chapter 4. Moving into Someone Else’s Research Project: Issues in Collaborative Research Judy Van Zile Part II: Reconsidering Movement Structures Chapter 5. The Dancer's Voice: The Dancing Body as Sound Made Visible Jane Freeman Moulin Chapter 6. From Tonga to Malaysia: Utlilising Adrienne Kaeppler’s Analysis of Dance Structure to Understand Igal of the Sama-Bajau in East Malaysia Mohd Anis Md Nor Chapter 7. Courting as Structured Movement in the Eastern Highlands of Papua New Guinea Don Niles Part III: Music and Dance as Agency in Power Struggles Chapter 8. Disturbing Bodies: Danced Resistance and Imperial Corporeality in Colonial Micronesia Brian Diettrich Chapter 9. Greek Politicians' Dancing: Theatrical Representations of Political Power Irene Loutzaki Chapter 10. Lalåi: Somatic Decolonisation and Worldview-Making through Chant on the Pacific Island of Guåhan Ojeya Cruz Banks Part IV: Significance of the Tangible Chapter 11. Intangible Dancing as Tangible Museum Exhibits Elsie Ivancich Dunin Chapter 12. Creativity and Ceremony in the Repatriation of King Ng:tja’ Kirsty Gillespie Chapter 13. The Weave Within: Being, Seeing and Sensing in Barasili – Solomon Islands Irene Karongo Hundleby Part V: Perspectives from Adrienne L. Kaeppler Interview with Adrienne L. Kaeppler: A Conversation with the Kupuna Ricardo D. Trimillos and Adrienne L. Kaeppler Publications by Adrienne L. Kaeppler Jess Marinaccio (compiler) Index

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Book Synopsis Best known for his 1979 film David, Peter Lilienthal was an unusual figure within postwar filmmaking circles. A child refugee from Nazi Germany who grew up in Uruguay, he was uniquely situated at the crossroads of German, Jewish, and Latin American cultures: while his work emerged from West German auteur filmmaking, his films bore the unmistakable imprints of Jewish thought and the militant character of New Latin American cinema. Peter Lilienthal is the first comprehensive study of Lilienthal’s life and career, highlighting the distinctively cross-cultural and transnational dimensions of his oeuvre, and exploring his role as an early exemplar of a more vibrant, inclusive European film culture.Trade Review “The relevance of Sandberg's monograph lies in the fact that it vividly highlights the film-historical significance of the cinematic work of the ‘gentle anarchist Peter Lilienthal’ …, which is largely difficult to access even for research purposes. In addition, Sandberg's transcontinental approach to research invites us to re-examine the work of other filmmakers with experiences of exile.” • Filmblatt “Peter Lilienthal: A cinema of Exile and Resistance is a book that positions itself into the field of transnational cinema and adopts … an instructive and beneficial point of departure for an analysis of a cinema that moves cross-continental. … Sandberg’s analysis has enormous potential and is a prompt to re-consider the work of cineastes such as Helvio Soto, Raúl Ruiz, Valeria Sarmiento, Marilú Mallet, Angelina Vásquez and the genre of exile cinema in general.” • Wolfgang Bongers, Pontificia Universidad Católica de Chile, Santiago for Imagofagia “A great study of Lilienthal’s oeuvre, enriched by Claudia Sandberg’s personal interactions with Lilienthal, which updates the existing scholarship on this filmmaker.” • Laurie Johnson, University of Illinois at Urbana-Champaign “Peter Lilienthal is an important and compelling study of a historically marginalized director and his commitments to transnational filmmaking. Vivid in description and rich in history, Claudia Sandberg's book engages us in exciting and insightful discussions of Lilienthal’s films and reminds us of their continuing relevance.” • Olivia Landry, Lehigh UniversityTable of Contents List of Illustrations Introduction: An Uneasy Fit Chapter 1. A Jewish Filmmaker in Post-War Germany Chapter 2. Of Rebels, Soldiers, and Dreamers Chapter 3. Across the Cold War Divide Conclusion: Recovering Lost Pasts In Dialogue Lilienthal’s Filmography Bibliography Index

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Book Synopsis Since the early 1990s, phenomenology and cognitivism have become two of the most influential approaches to film theory. Yet far from being at odds with each other, both approaches offer important insights on our subjective experience of cinema. Emotions, Ethics, and Cinematic Experience explores how these two approaches might work together to create a philosophy of film that is both descriptively rich and theoretically productive by addressing the key relationship between cinematic experience, emotions, and ethics.Table of Contents Preface List of illustrations Introduction: Phenomenology Encounters Cognitivism Robert Sinnerbrink Chapter 1. Fascist Affect in 300 Carl Plantinga Chapter 2. Other Sides: Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth Saige Walton Chapter 3. Elemental Imagination and Film Experience: Climate Change and the Cinematic Ethics of Immersive Filmworlds Ludo de Roo Chapter 4. Toward a Model of Distributed Affectivity for Cinematic Ethics: Ethical Experience, Trauma, and History Brigid Martin Chapter 5. Grey Gardens and the Problem of Objectivity: Notes on the Ethics of Observational Documentary Mathew Abbott Chapter 6. Synthetic Beings and Synthespian Ethics: Embodiment Technologies in Science/Fiction Jane Stadler

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Book Synopsis Transitional justice and national inquiries may be the most established means for coming to terms with traumatic legacies, but it is in the more subtle social and cultural processes of “memory work” that the pitfalls and promises of reconciliation are laid bare. This book analyzes, within the realms of literature and film, recent Australian and Canadian attempts to reconcile with Indigenous populations in the wake of forced child removal. As Hanna Teichler demonstrates, their systematic emphasis on the subjectivity of the victim is problematic, reproducing simplistic narratives and identities defined by victimization. Such fictions of reconciliation venture beyond simplistic narratives and identities defined by victimization, offering new opportunities for confronting painful histories.Trade Review “Carnivalizing Reconciliation is an ambitious, detailed book with a compelling underlying theoretical premise: namely that reconciliation, thought through the Bakhtinian notion of carnival, is laid bare in all its pitfalls and promise.” • Michael Griffiths, University of WollongongTable of Contents Introduction: Carnivalizing Reconciliation
 Chapter 1. Justice through Storytelling? Australian and Canadian Reconciliation and the Victim Paradigm Chapter 2. Carnivalizing Reconciliation: Beyond the Victim Paradigm Chapter 3. Beyond the Partisan Divide: Transcultural Recalibrations of National Myths in Joseph Boyden’s Three Day Road and Gail Jones’s Sorry Chapter 4. “Double Visions”: Intimate Enemies and Magic Figures in Kim Scott’s Benang and Tomson Highway’s Kiss of the Fur Queen Chapter 5. From Victimology to Empowerment? Zacharias Kunuk’s Atanarjuat and Baz Luhrmann’s Australia Conclusion: Fictions of Reconciliation Bibliography

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Book Synopsis Beginning with his first film Reconstruction, released in 1970, Theo Angelopoulos’s notoriously complex cinematic language has long explored Greece’s contemporary history and questioned European culture and society. The Cinematic Language of Theo Angelopoulos offers a detailed study and critical discussion of the acclaimed filmmaker’s cinematic aesthetics as they developed over his career, exploring different styles through which Greek and European history, identity, and loss have been visually articulated throughout his oeuvre, as well as his impact on both European and global cinema.Trade Review “This illuminating book offers a powerful synthesizing account of the films of Theo Angelopoulos by framing them within a biographical context. By positioning Angelopoulos’ work within an array of philosophical, cinematic, and art-historical contexts, the author brings us closer to Angelopoulos’ existential, political, philosophical and aesthetic quests.” • Lydia Papadimitriou, Liverpool John Moores UniversityTable of Contents Note on the transliteration Introduction: Prolegomena to Theo Angelopoulos’ Life and Filmmaking Chapter 1. Life and Works Chapter 2. The Life of Films Chapter 3. The Construction of Theo Angelopoulos’ Cinematic Language Conclusion: Final Words Photo Essay: Transformations of the Gaze in Theo Angelopoulos’ Films Filmography Bibliography

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Book Synopsis Through an interdisciplinary conversation with contributors from social anthropology, religious studies, film studies, literary studies, cultural studies, and history, Crafting Chinese Memories is a novel book which addresses how works of art shape memories, and offers new ways of conceptualising storytelling, memory-making, art, and materiality. It explores the memories of artists, filmmakers, novelists, storytellers, and persons who come to terms with their own histories even as they reveal the social memories of watershed events in modern China.Trade Review “An ambitious, original interdisciplinary project of memory studies that brings together contributions from several academic disciplines – art, film, literature, history, and anthropology. Its highly interesting case studies investigate how memories about/in modern and contemporary China are made through various forms of storytelling and embedded in their materiality.” • Rui Kunze, Friedrich-Alexander Universität Erlangen-NürnbergTable of Contents List of Illustrations Foreword: Conceptualising Chinese Memories Jialin Liu and Raphael Woolf Introduction: Materiality, Imagination and the Memorable Katherine Swancutt Part I: Curating Memories through Art and Film Chapter 1. The Memory Palace of a Chinese Painter Benoît Vermander Chapter 2. Jia Zhangke’s Memory Project, 24 City: Rewriting History, Rethinking Historiography Chris Berry Part II: Framing Memories through Literature and the Body Chapter 3. ‘Swimming against the Current’: The Mediation of Cultural Memory in the Writings by Christa Wolf and Ding Ling Yejun Zou Chapter 4. Chinese Body-Expression and Cultural Memory in Mo Yan’s Big Breasts & Wide Hips Wei Luan Chapter 5. Remembering Statelessness in Food Stories from Jewish Shanghai Anna Reading Part III: Propagating Memories through Storytelling Chapter 6. From Personal Connections to Mutual Trust: Building Memories with the Children of the Chinese Staff of the Chinese Maritime Customs Service Chihyun Chang Chapter 7. Jailhouse Blues, Storytelling, and Becoming the Stuff of Legends in Southwest China Katherine Swancutt and Jiarimuji Conclusion: Layers, Traces, Fields, and Storehouses of Memory Katherine Swancutt Index

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Book Synopsis The 21st century has witnessed some of the largest human migrations in history. Europe in particular has seen a major influx of refugees, redefining notions of borders and national identity. This interdisciplinary volume brings together leading international scholars of migration from perspectives as varied as literature, linguistics, area and cultural studies, media and communication, visual arts, and film studies. Together, they offer innovative interpretations of migrants and contemporary migration to Europe, enriching today’s political and media landscape, and engaging with the ongoing debate on forced mobility and rights of both extra-European migrants and European citizens.Trade Review “The book [offers] an interesting and potentially useful resource for scholars and students working at the intersection of cultural studies and migration research.” • Ethnic and Racial StudiesTable of Contents List of illustrations Acknowledgements Introduction: Theorizing Textual, Visual and Performative Approaches to Recent Migration to Europe Nelson González Ortega Part I: European Migration Represented in Testimonies and Novels Chapter 1. Othering and the Mutual Construction of (Trans)National Identities and Citizenship in Contemporary African and Spanish Migration Narratives: A Decolonial Reading Nelson González Ortega Chapter 2. Border Crossings, Religious Identities and Collective Writing in Pathé Cissé’s La Tierra Prometida / Diario de un Emigrante. La Terre Promise / Journal d’un Emigrant Carles Magrinyà Badiella Chapter 3. Migrant Literature Migrating: The Case of Fatou Diome’s Le ventre de l’Atlantique and Its Reception in Sweden Mattias Aronsson Chapter 4. Can Migration Narratives Change Public Conceptions of Borders? The Somali-Norwegian Borderscape in Roda Ahmed’s Forberedelsen and Its Medial Reception Johan Schimanski Chapter 5. Reflections on Transitional Borderscapes: Performing the Migrant Self in Written and Audiovisual Testimony Ana Belén Martínez García Part II: European Migration Represented in the Media Chapter 6. The Visualization of the ‘Refugee Crisis’ of 2015-2016: A Case Study of a Croatian Online News Source Ljiljana Šarić Chapter 7. Crossing the Border between Two Spaces: Narration about the Migrant Crisis of 2015–2016 in Italian Newspapers Elizaveta Khachaturyan Part III: European Migration Represented in Contemporary European Cinema Chapter 8. Border, Space and the Body in the Films Biutiful and Victoria Carolina Leon Vegas Chapter 9. Erratic Bodies in European Cinema: A Radiography of Nations and Clandestine Bodies Laura Camacho Salgado Part IV: European Migration Represented in Theatre and Artworks as Migrants’ Counterdiscourse or Artivism Chapter 10. Injurious Metaphors and (Non-)Art as Activist Counter-Discourse to Greece’s ‘Refugee Olga Michael and Jovana Mastilovic Chapter 11. Who Marks the Borders of the (Un)known? The Dynamics of Relational Reflexivity in the Production of a Play on Forced Mobility in Northern Portugal Elizabeth Challinor Conclusion: Migration, Border Aesthetics and Discursive Strategies Ana Belén Martínez García Index

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