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The Otherness of the Everyday
More LessAt the end of 2019 to the beginning of 2020, when the coronavirus first emerged, Wuhan in China became the first city in the world affected by this deadly disease. It then rapidly spread to the entire country, and further on to Europe, America and the rest of the world.
During these strange times, we witness the emptiness of streets, squares and cities everywhere; we are estranged from and yet ‘connected’ to each other. As a response to the pandemic, Jiang Jiehong convened in-conversation talks with figures from different disciplines in the Chinese-speaking world, including anthropology, architecture, art, curating, fashion film, literature, media, museum, music and photography.
The twelve high-profile participants in these conversations are Xiang Biao, Zhang Peili, Pi Li, Zhang Zikang, Gu Zheng, Li Lin, Zhang Zhen, Shu Kewen, Jiang Jun, Wang Shouzhi, Chen Danqing and Zhu Zheqin.
These conversations foster new understandings of this present-day crisis; the threat of the invisible, notions of distance and spatialization, separation and isolation, communication and mobility, discipline and surveillance, and community and collectiveness, as well as the increase in conflicts and divisive voices between China and the world. At the same time, these reflections give us the opportunity to re-examine our past ‘normality’, and to project our future visions of a post-COVID world.
Readership will include those working and studying in the humanities and specifically in the disciplines of the interviewees, and those who have particular interests in contemporary China. The Otherness of the Everyday is also of interest to a more general audience who has experienced the pandemic and is seeking innovative understandings of this global crisis in human history.
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One Hundred Years of Futurism
More LessMore than one hundred years after Futurism exploded onto the European stage with its unique brand of art and literature, there is a need to reassess the whole movement, from its Italian roots to its international ramifications. In wide-ranging essays based on fresh research, the contributors to this collection examine both the original context and the cultural legacy of Futurism. Chapters touch on topics such as Futurism and Fascism, the geopolitics of Futurism, the Futurist woman, and translating Futurist texts. A large portion of the book is devoted to the practical aspects of performing Futurist theatrical ideas in the twenty-first century.
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Open Roads, Closed Borders
More LessThis is the first collection of essays about French-language road movies, a particularly rich yet critically neglected cinematic category. These films, the contributors argue, offer important perspectives on contemporary French ideas about national identity, France’s former colonies, Europe, and the rest of the world. Taken together, the essays illustrate how travel and road motifs have enabled directors of various national origins and backgrounds to reimagine space and move beyond simple oppositions such as Islam and secularism, local and global, home and away, France and Africa, and East and West.
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One for the Girls!
More LessWe usually think of women as the victims of pornography rather than its consumers. Whether appearing in films, peering provocatively from the pages of magazines, or posing on explicit Web-sites, women are considered the dehumanized objects of unseen lascivious male viewers. But in her controversial new book One for the Girls!, Clarissa Smith debunks this myth and challenges women to read, watch, and enjoy pornography on their own terms. Focusing on the British magazine For Women, Smith looks at its readers’ responses to male pinups and erotica and explores the intricacies of women’s unique reactions to pornography.
“Clarissa Smith has achieved something special with her new proffering from her masculinities repertoire. Smith’s text is groundbreaking, multidisciplinary and—equally importantly—extremely readable. It is the last point perhaps that really sets this work apart, as One for the Girls has a great deal to offer both the specialist academic and the general reader. Clarissa Smith’s accessible style allows readers with little prior knowledge of critical theory, cultural studies or the 1980s pornography debate, to not only understand these discourses, but to develop a strong grasp of their impact in this context.”—Michelle Parsons, Transition Tradition
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