Television Books

Book SynopsisWe watch television for hours at a time, but the television set is never itself the object of our attention. We forget the tv is in our room as we engage with images from afar. How do we account for such an everyday piece of furniture? This book focuses on the tv set's contradictory presence both as a material object and as a receiver of images. Chris Horrocks traces the prehistory of television as a fantastic vision in nineteenth-century culture, and charts its emergence through the fears and desires that society projected onto this alien presence in the living room. He follows television's journey from its strange roots in spiritualism, imperialism and Victorian experiments with electromagnetism, through its contested 'invention' by heroic figures such as Baird and Farnsworth, to its arrival as an essential consumer product. Along the way the tv acquired a significance and role that advertising, literature and cinema amplified. The tv appears in culture as a sinister object capable of controlling thought, monitoring its audience and causing mental and physical harm.The design of the television console and cabinet imbued it with signs of status and good taste, and more radical designs drew on the space race and avant-garde design. The set has even become a radical medium in the work of artists Wolf Vostell and Nam June Paik. Yet the television as a classic object began to disappear once the cathode ray tube became obsolete and flat-screen versions merged with the wall. The Joy of Sets brings this most elusive object into critical and historical focus for the first time.

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Book SynopsisBrand-new details of his life on Vulcan and the Enterprise are revealed, along with never-before-seen insights into Spock's relationships with the most important figures in his life, including Sarek, Michael Burnham, Christopher Pike, Kirk, McCoy and more, all told in his own distinctive voice.Trade Review"Absolutely essential reading for the legions of Star Trek fans. A deftly crafted memoir." - Midwest Book Review

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Book SynopsisThis anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television that we term 'New Queer Horror.' New Queer Horror designates horror that is crafted by directors/producers who identify as gay, bi, queer or transgendered, or works that feature homoerotic or explicitly homosexual narratives with 'out' LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film in an age where its presence has become more unambiguous. Ultimately, this anthology aims to show that 'New Queer Horror' has in recent years turned the focus of fear on itself, on its own communities and subcultures.Trade Review“This new collection of essays contributes to the ever-expanding field of queer horror scholarship. Vampires, witches, werewolves, serial killers, and more are examined within this relatively ‘out’ era of LGBTQ+ representation, once again demonstrating how this protean genre continues to speak in fascinating ways to issues of gender and sexuality.” -- Harry M. Benshoff, University of North Texas“As everyday life begins to resemble a horror movie for more and more people, so horror genres have had to shift and change to keep pace with the grotesqueries of the quotidian. In this exciting new volume edited and curated in imaginative ways, queer horror takes center stage. While LGBTQ+ people have long played the monster in the horror genre, we can now look at horror from the perspective of those relegated to the monstrous margins. Ranging between new queer readings of old texts and analyses of aesthetic ruptures, this anthology can claim to offer a definitive look at a genre that has neatly taken aim at normal life.” -- Jack Halberstam, Columbia UniversityTable of ContentsList of Illustrations Author Biographies Introduction Part 1: TRANSFORMING, RE-READING AND RE-MAKING QUEER HORROR 1: 'My Brother's Creeper': Towards a Queer (Re-)Reading of Victor Salva's Jeepers Creepers (2001) - John Edgar Browning 2: Queer Cult Performance: Recreating Rocky Horror in the Twenty-First Century - John Lynskey 3: Castrating the Queer Vampire in Let the Right One In (2009) and Let Me In (2010) - Darren Elliott-Smith 4: 'Becoming Hannibal': Identification and Transformation in Queer Horror Television - Ben Tyrer Part 2: QUEER PLAYGROUNDS AND ADOLESCENT HORRORS 5: 'What happened to my sweet girl?': Paranoid and Reparative readings of Queer Subjectivity in Black Swan (2010) and Jack and Diane (2012) - Robyn Ollett 6: 'A Dream Within a Dream': Children's 'Horror' Television and Lesbianism in the World of Marceline the Vampire Queen - Simon Bacon 7: Abjection, Queer Bodies and Grotesque Doppelgangers in Jack and Diane and The Nature of Nicholas - Fernando Gabriel Pagnoni Berns and Mariana Zarate 8: At the Edges of (queer) Time and Space: Atemporality, Adolescence, and Abjection in Final Destination - Christopher Clark Part 3: BADASS WITCHES AND QUEER WOLVES 9: 'If you look in the face of evil, evil's gonna look right back at you': Anthologising Supernatural Sexualities on American Horror Story: Coven - Andrew J. Owens. 10: Like and Lycanthropy: The New Pack Werewolf According to Tyler, Tyler and Taylor - Tim Stafford 11: 'Unspeakable Acts': Coming Out as Werewolf - Lisa Metherell. 12: 'Sisters United': Feminist Nostalgia, Queer Spectatorship, and the Radical Witch Politics of Rob Zombie's The Lords of Salem - Ben Raphael Sher Selected Bibliography

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Book SynopsisThis interdisciplinary anthology explores the complex relationships in an artist’s life between fact and fiction, presentation and existence, and critique and creation, and examines the work that ultimately results from these tensions. Using a combination of critical and personal essays and interviews, MASKS presents Bowie as the key exemplifier of the concept of the 'mask', then further applies the same framework to other liminal artists and thinkers who challenged the established boundaries of the art/pop academic worlds, such as Friedrich Nietzsche, Oscar Wilde, Søren Kierkegaard, Yukio Mishima and Hunter S. Thompson. Featuring contributions from John Gray and Slavoj Žižek and interviews with Gary Lachman and Davide De Angelis, this book will appeal to scholars and students of cultural criticism, aesthetics and the philosophy of art; practising artists; and fans of Bowie and other artists whose work enacts experiments in identity.Trade Review'Curcio’s book unravels artists and artifice, whether through masks of cosmetics, cultural dance, cartoon illustrations, poetry, politics or literature, the mask either conflicts with or enhances the artist themselves. The fascinating segments of the book offer ways in which Bowie’s artistic life and other artists led similar convictions and creative journeys to find meaning. Curcio brings beautiful narratives together for the reader to see the artist through their self-reflective lens.' -- Dr Catharine Weiss, Fashion, Style & Popular Culture"Artists who swim in liminal seas, who speak through symbol, myth and mask embodying our deepest and darkest dreams, both intrigue and terrify. Intrinsically compelled or performatively constructed, they become our shamans by proxy. But Curcio delves further, exploring the complex relationship between the artist and the projections and obsessions that swirl around them, not always transforming but sometimes merging or devouring them. It is a fascinating journey into the mysterious energies surrounding artists of artifice." Tanja Stark – artist -- Tanja Stark – artistTable of ContentsAcknowledgements Foreword: The Shifting Shaman of the Modern Age – John Gray Introduction: Somebody Else Took His Place, and Bravely Cried… – James Curcio Chapter 1: Masks All the Way Down – James Curcio Chapter 2: Mishima, Bowie and the Anti-Metaphysics of the Mask – Roy Starrs Chapter 3: Not All That Glitters Is Gold: Ziggy Stardust and the Fractured Mask of a Generation – Lúcio Reis-Filho Chapter 4: Watch That Man: Splicing Tape with Burroughs and Bowie – Casey Rae Chapter 5: From Vigilius Haufniensis to Ziggy Stardust: Pseudonyms, Irony and Truth in Kierkegaard and Bowie – Tara Isabella Burton Chapter 6: Mascara and Marriage: The Twin Masks of David Bowie and Robert Smith – Tom Powers Chapter 7: The Great Contrarians – Yahia Lababidi Chapter 8: Seeing Things Like Hunter: Ralph Steadman’s Cartoon Visions as Revelatory Masks in Fear and Loathing in Las Vegas – Kevin J. Hunt Chapter 9: The Beautiful Madness: The Primacy of Wonder in the Work of Thomas Ligotti – J. F. Martel Chapter 10: The Skin and the Double: Firbank’s Aesthetics of Surface – Michael Hunter Chapter 11: God’s Twisted Identity – Slavoj Žižek Chapter 12: Wishful Beginnings and Creative Ends: Conversation with Davide De Angelis – Davide De Angelis and James Curcio Chapter 13: On Existentialism and the Occult: Conversation with Gary Lachman – Gary Lachman and James Curcio Chapter 14: The Many Masks of Manifestation – John Harrigan Epilogue: Art for Art’s Sake – James Curcio Notes on Contributors Index

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Book SynopsisFrom low humor to high drama, TV weather reporting over the decades has encompassed an enormous range of styles and approaches, triggering chuckles, infuriating the masses, and at times even saving lives. In "Weather on the Air", meteorologist and science journalist Robert Henson covers it all - the people, technology, science, and show business that combine to deliver the weather to the public each day. The first comprehensive history of its kind, "Weather on the Air" explores the many forces that have shaped weather broadcasts over the, years, including the long-term drive to professionalize weathercasting, the complex relations between government and private forecasters, and the effects of climate-change science and the Internet on today's broadcasts. Dozens of photos and anecdotes accompany Henson's more than two decades of research to document the evolution of weathercasts, from their primitive beginnings on the radio to the high-gloss, graphics-laden segments we watch on television every morning. This engaging study will be an invaluable tool for students of broadcast meteorology and mass communication and an entertaining read for anyone fascinated by the public face of weather.

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Book SynopsisThe Fourth Edition of AHistory amends and vastly expands (by about 40%) the work of Third Edition, continuing to incorporate the whole of Doctor Who into a single timeline. All told, this Fourth Edition takes about 2000 (!!!!!) full-length Doctor Who stories and dates them in a single chronology — starting with the Universe's origins and working its way forward to the end of time.Specifically, this Fourth Edition covers all Doctor Who TV episodes through the end of the twelfth Doctor era starring Peter Capaldi (Twice Upon a Time); all New Series Adventures up through Diamond Dogs; the Big Finish audio range up through Static (#233); all Torchwood, The Sarah Jane Adventures, K9 and Class episodes, novels and comics; the Titan, IDW and Doctor Who Magazine comics; and a cornucopia of other Doctor Who spin-off series (Jago & Litefoot, Counter-Measures and more).Volume 3 (of 3) of Ahistory Fourth Edition encompasses the Future History section of the Doctor Who universe — from the start of 2018 to its final, sputtering heat death. All told, the three volumes of Ahistory Fourth Edition contain more than a million words of hardcore geeky analysis on the world’s longest-running Sci-Fi series.

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Book SynopsisMediating the Uprising: Narratives of Gender and Marriage in Syrian Television Drama shows how gender and marriage metaphors inform post-uprising Syrian drama for various forms of cultural and political critique. These narratives have become complicated since the uprising due to the Syrian regime’s effort to control the revolutionary discourse. As Syria’s uprising spawned more terrorist groups, some drama creators became nostalgic for pre-war days. While for some screenwriters a return to pre-2011 life would be welcome after so much bloodshed, others advocated profound cultural and social transformation, instead. They employed marriage and gender metaphors in the stories they wrote to engage in political critique, even at the risk of creating marketing difficulties for the shows or they created escapist stories such as transnational adaptations and Old Damascus tales. Serving as heritage preservation, Mediating the Uprising underscores that television drama creators in Syria have many ways of engaging in protest, with gender and marriage at the heart of the polemic. Trade Review“A huge accomplishment, Mediating the Uprising combines smart readings of Syrian television miniseries with detailed ethnographic analysis. Joubin reveals the strategies of artists--both oppositional and regime-supporters--who are testing the limits of social and political expression, and the workings of an industry navigating seven years of civil war. The book is an invaluable addition to media studies and Syrian studies.” -- Edward Ziter * author of Political Performance in Syria: From the Six-Day War to the Syrian Uprising *“Mediating the Uprising expertly reveals how Syria’s most successful transnational media products have fared during and responded to the current conflicts. Rebecca Joubin displays uncommon dexterity in how she interlaces a wealth of detail, from knowledgeable insight into sociopolitical contexts to illuminating interviews with the musalsalat’s creative personnel. This approachable book will appeal just as much to specialized scholars as to a general readership wishing to learn more about how devastating geopolitical events take their toll on our media industries and their representations of gender.” -- Kay Dickinson * author of Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond *“A huge accomplishment, Mediating the Uprising combines smart readings of Syrian television miniseries with detailed ethnographic analysis. Joubin reveals the strategies of artists--both oppositional and regime-supporters--who are testing the limits of social and political expression, and the workings of an industry navigating seven years of civil war. The book is an invaluable addition to media studies and Syrian studies.” -- Edward Ziter * author of Political Performance in Syria: From the Six-Day War to the Syrian Uprising *“Mediating the Uprising expertly reveals how Syria’s most successful transnational media products have fared during and responded to the current conflicts. Rebecca Joubin displays uncommon dexterity in how she interlaces a wealth of detail, from knowledgeable insight into sociopolitical contexts to illuminating interviews with the musalsalat’s creative personnel. This approachable book will appeal just as much to specialized scholars as to a general readership wishing to learn more about how devastating geopolitical events take their toll on our media industries and their representations of gender.” -- Kay Dickinson * author of Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond *Table of ContentsTable of Contents Series Foreword List of Illustrations List of Abbreviations Note on Transliteration A Chronology of the Syrian Uprising Introduction: New Directions in Television Drama Amid an Uprising Chapter One: Mediating the Uprising Chapter Two: Socio-Political Satire in the Multi-Year Syrian Sketch Series Buq‘at Daw’ (Spotlight): Artistic Resistance via Gender and Marriage Metaphors, 2001 to 2017 Chapter Three: The Rise and Fall of the Qabaday (Tough Man): (De)constructing Fatherhood as Political Protest Chapter Four: The Politics of Love and Desire in Post-Uprising Syrian and Transnational Arab Television Drama Chapter Five: The Politics of Queer Representations in Syrian Television Drama Past and Present Conclusion Appendix 1: Charts of Miniseries for Ramadan 2011-2018 (Miniseries that touch on the uprising are in bold) Appendix 2: Table of Percentages of Miniseries 2011-2018 Appendix 3: Chart of Miniseries for Ramdan 2019 (Miniseries that touch on the uprising are in bold) Appendix 4: Table of Percentages of Miniseries 2019 Acknowledgments Bibliography/Filmography Index

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Book SynopsisThis is the first book that examines how “ethnic spectacle” in the form of Asian and Latin American bodies played a significant role in the cultural Cold War at three historic junctures: the Korean War in 1950, the Cuban Revolution in 1959, and the statehood of Hawaii in 1959. As a means to strengthen U.S. internationalism and in an effort to combat the growing influence of communism, television variety shows, such as The Xavier Cugat Show, The Ed Sullivan Show, and The Chevy Show, were envisioned as early forms of global television. Beyond the Black and White TV examines the intimate moments of cultural interactions between the white hosts and the ethnic guests to illustrate U.S. aspirations for global power through the medium of television. These depictions of racial harmony aimed to shape a new perception of the United States as an exemplary nation of democracy, equality, and globalism.Trade Review"The Cold War has been studied by many, but this is the first book that does so by looking at how the “ethnic spectacle” helped the United States in winning the cultural Cold War."— Journal of Popular Culture "Fascinating, compelling, and important, Beyond the Black and White TV demonstrates how government objectives were married with the goals of television productions to display migration, integration, and global imagination in order to control discourses of race and nation.This work reframes television history through the lens of variety shows by engaging with race from an industry perspective, informing readers how race factored into the production of genre and national identity." — L.S. Kim, associate professor, Film and Digital Media, University of California, Santa Cruz "Benjamin M. Han illuminates the secret history of the American variety show, deftly revealing the cosmopolitan roots of a familiar TV format. A major contribution to the cultural history of the Cold War."— Christina Klein, author of Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema "Beyond the Black and White TV makes a convincing and timely argument that the history of Asian and Latin American media representation is the history of anticommunism [and] serves as a warning to critically examine such media representation as more than merely evidence of America’s racial liberalism but also as an instrument for its political interests."— Journal of Asian American Studies "This book illustrates the process by which various races coexist to construct a state and how television programs are used to form national identity… Readers tired of examining the Cold War only in the context of international politics will enjoy understanding the conflict through various experiences of racial diversity and ambiguity." — Wonjung Min, Asian Communication ResearchTable of ContentsContents Introduction 1 Narratives of Integration: Ethnic Spectacle and Las Vegas 2 Narratives of Exchange: Asian/ American Performers after the Korean War 3 Narratives of Partnership: Latin American Entertainers in the Post-Cuban Revolution 4 Narratives of Co-Existence: Pacific Islanders and the Statehood of Hawaii’i Epilogue Epilogue Acknowledgments Bibliography Index

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Book SynopsisBetween 1971 and 1979, All in the Family was more than just a wildly popular television sitcom that routinely drew 50 million viewers weekly. It was also a touchstone of American life, so much so that the living room chairs of the two main characters have spent the last 40 years on display at the Smithsonian. How did a show this controversial and boundary-breaking manage to become so widely beloved?Those Were the Days is the first full-length study of this remarkable television program. Created by Norman Lear and produced by Bud Yorkin, All in the Family dared to address such taboo topics as rape, abortion, menopause, homosexuality, and racial prejudice in a way that no other sitcom had before. Through a close analysis of the sitcom’s four main characters—boorish bigot Archie Bunker, his devoted wife Edith, their feminist daughter Gloria, and her outspoken liberal husband Mike—Jim Cullen demonstrates how All in the Family was able to bridge the generation gap and appeal to a broad spectrum of American viewers in an age when a network broadcast model of television created a shared national culture. Locating All in the Family within the larger history of American television, this book shows how it transformed the medium, not only spawning spinoffs like Maude and The Jeffersons, but also helping to inspire programs like Roseanne, Married... with Children, and The Simpsons. And it raises the question: could a show this edgy ever air on broadcast television today?Trade Review"Little did I know about the world Archie Bunker and All in the Family were born into until I read Jim Cullen’s informed and perceptive Those Were the Days: Why All In The Family Still Matters." -- Norman Lear"Jim Cullen's beguiling scholarship offers a nimble treatment of what was arguably American television's most influential scripted series, made in the waning days of the now bygone mass audience." -- Robert Thompson * Founding Director, Bleier Center for Television and Popular Culture, Syracuse University *"'All in the Family' pushed the envelope on race and gender. Has America regressed since then?" by Jim Cullen * USA Today *"A very accessible and highly readable study that situates All in the Family aptly in its historical moment. It illuminates why the show became a landmark and what makes it so special to this day." -- Christina von Hodenberg * author of Television's Moment: Sitcom Audiences and the Sixties Cultural Revolution *"From how each character evolved to the family's resemblance to real-life changes and developing social awareness, Those Were the Days provides a solid study that will serve as discussion material for any media studies or American social history classroom." * Donovan's Literary Services *"Those were the days: As ‘All in the Family’ turns 50, a look at why it succeeded" by Jim Cullen * New York Daily News *"Norman Lear deserves his Golden Globe award — does America deserve him?" by Benjamin Lear * The Foreward *Mary Baker Eddy Library podcast: Jean Stapleton and the spiritual dimensions of “All in the Family” episode * Seekers and Scholars podcast *Table of ContentsContents Introduction: Broad(cast) Humor 1 Situation Comedy, Situation Tragedy: The Transitional World of All in the Family 2 The Revolution, Televised: Origins of the Family 3 Fuzzy Reception: Meeting the Bunkers 4 Producing Comedy: Making All in the Family 5 The Character of Home: Chez Bunker 6 Not Bad for a Bigot: The Making of Archie Bunker 7 A Really Great Housewife: The Character of Edith Baines Bunker 8 Left In: The Liberal Arts of Michael Stivic 9 “Little Girl” to Mother: The Working-Class Feminism of Gloria Bunker Stivic 10 Family Resemblance: The Rise and Fall of the Lear Television Empire Conclusion: Just Like Us Acknowledgments Index

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Book SynopsisOur understanding of history is often mediated by popular culture, and television series set in the past have provided some of our most indelible images of previous times. Yet such historical television programs always reveal just as much about the era in which they are produced as the era in which they are set; there are few more quintessentially late-90s shows than That ‘70s Show, for example. From Memory to History takes readers on a journey through over fifty years of historical dramas and sitcoms that were set in earlier decades of the twentieth century. Along the way, it explores how comedies like M*A*S*H and Hogan’s Heroes offered veiled commentary on the Vietnam War, how dramas ranging like Mad Men echoed current economic concerns, and how The Americans and Halt and Catch Fire used the Cold War and the rise of the internet to reflect upon the present day. Cultural critic Jim Cullen is lively, informative, and incisive, and this book will help readers look at past times, present times, and prime time in a new light.Trade Review"This is a terrific book, fun and learned and provocative. Ranging across television from The Waltons to The Americans, Cullen provides an entertaining and thoughtful account of the ways that we remember and how this is influenced and directed by what we watch. The discussions of popular television series are excellent, and together they provide a compelling account of historical television, reminding us that nothing artistic happens by chance and that we should be careful of what we believe." -- Jerome de Groot * author of Consuming History: Historians and Heritage in Contemporary Popular Culture *"Jim Cullen has been writing incisively about how Americans remember the past and make sense of the present through various forms of popular culture for a quarter-century. This time his focus is prime-time television with deep dives into seven celebrated series from the 1960s through the 2010s, which will inspire readers to return to these beloved programs with renewed insight and appreciation." -- Gary R. Edgerton * Professor of Creative Media and Entertainment at Butler University and coeditor of the Journal of Po *Table of ContentsINTRODUCTION Television’s History 1 LEFT TO THE RIGHTThe Waltons as a 1970s Version of the 1930s 2 CAMP HISTORYHogan’s Heroes as a 1960s Version of the 1940s 3 A FUNNY WARM*A*S*H as a 1970s Version of the 1950s 4 DREAM ADVERTISEMENTMad Men as a 2000s Version of the 1960s 5 WE’RE ALL ALL RIGHTThat ’70s Show as a 1990s Version of the 1970s 6 DOMESTIC FRONTThe Americans as a 2010s Version of the 1980s 7 PROGRAMMING HOPEHalt and Catch Fire as a 2010s Version of the 1990s CONCLUSION Visualizing the Future of the Past Acknowledgments Notes Index

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Book SynopsisThe history of film students from the Global South who studied in Poland during the Cold War. As Poland’s second-largest city, Łódź was a hub for international students who studied in Poland from the mid-1960s to 1989. The Łódź Film School, a member of CILECT since 1955, was a favored destination, with students from Africa, Latin America, and the Middle East accounting for one-third of its international student body. Despite the school’s international reputation, the experience of its filmmakers from the Global South is little known beyond Poland. Hope Is of a Different Color addresses the history of student exchanges between the Global South and the Polish People’s Republic during the Cold War. It sheds light on the experiences and careers of a generation of young filmmakers at Łódź, many of whom went on to achieve success as artists in their home countries, and provides insight into emerging areas of research and race relations in Central and Eastern Europe. The essays reflect on these issues from multiple perspectives, considering sociology, political science, art, and film history. The book also features previously unpublished photographs and film stills from private archives along with visual and written material collected at the Łódź Film School. Table of ContentsIntroduction: From International Solidarity to a New Color Curtain—Magda Lipska, Monika Talarczyk I.Students from the Global South at the Lódz Film School, 1948–89:BiographiesExtant List, Enrolled StudentsSelected Film Stills II. Effective Solidarity with the Postcolonial World: Cold-War Educational Assistance from the Socialist Countries—Constantin KatsakiorisStudents of Color and State Socialism: Can Double Exoticism Be Endured in Public Space?— Matthieu GillabertThe Jew, the Arab, the Pole: March 1968 in Poland and the History of an Alliance Between the Second and Third Worlds—Monika BobakoUnwanted Legacy, as Told by Its Witnesses: Arab Students in People’s Poland—Beata Kowalska, Inga HajdarowiczCold War Internationalism: The Myth of Race-Blind Eastern Europe—Bolaji Balogun Representing Africans in The Polish Review: A Projection of the PRL as Racism-Free—Bartosz NowickiIII. The Training of Third-World Filmmakers in Eastern Bloc Schools before 1991—Gabrielle ChomentowskiWE WANT THE SUN! Short Films by Lódz Students from the Global South, Compared with Models from Polish Art Cinema—Monika TalarczykThe Familiar, the Strange: Works by Students from the Global South in the Context of the Polish School of Documentary Film— Katarzyna Maka-MalatynskaPodróz to Poland: In Search of a Potential Moroccan Cinema—Marie Pierre-Bouthier Voices and Faces from the Third World—Olivier HadouchiSao Gamba’s Creative Legacy in Kenya—Rachael Diang’a IV. “The Documentary Film in Eastern Africa: Sao Gamba’s Secret Legacy” (2009)—Jakub Barua“The Cinema and I (A Black Filmmaker)” (July 1986)—John Alex Maina KaranjaLesson 41: Going to Poland to Become a Moroccan Filmmaker—Léa MorinFilmography: Student ShortsIndex

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Book SynopsisThe years following the fall of Suharto have been full of promises of liberation but also apprehension for the future. The period brought an unprecedented rise in the public profile of Islamic politics, new and public debates on past human rights violations, protracted and irrevocable divisions within the top political elite, the rise of Asian popular culture, and a digital communication revolution passionately welcomed by young Indonesians along with youths all around the world.Identity and Pleasure: The Politics of Indonesian Screen Culture critically examines what media and screen culture reveal about the ways urban-based Indonesians attempted to redefine their identity in the first decade of this century. Through a richly nuanced analysis of their expressions and representations across screen culture (cinema, television and social media), it analyses the waves of energy and optimism, and the disillusionment, disorientation and despair, that arose in the power vacuum after the dramatic collapse of the militaristic New Order government.The overall narrative provides much reason for optimism, but it also suggests that the deep reservoir of creativity that gave rise to Indonesia’s local hybrid modernity’s, who favour a narrow definition of what it means to be Indonesian

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