A Critique of Postcolonial Reason tracks the figure of the native informant through various cultural practices--philosophy, history, literature--to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide. It ranges from Kant's analytic of the sublime to child labor in Bangladesh. Throughout, the notion of a Third World interloper as the pure victim of a colonialist oppressor emerges as sharply suspect: the mud we sling at certain seemingly overbearing ancestors such as Marx and Kant may be the very ground we stand on.A major critical work, Spivak's book redefines and repositions the postcolonial critic, leading her through transnational cultural studies into considerations of globality.

    If you liked mash you should have this book!!

    This down-and-dirty romp through Hollywood in the 1970s introduces the young filmmakers--Coppola, Scorsese, Lucas, Spielberg, Altman, and Beatty--and recreates an era that transformed American culture forever.

    Sometimes overtly sexual, always intensely cute, the beautiful fighting girl has been both hailed as a feminist icon and condemned as a symptom of the objectification of young women in Japanese society.In Beautiful Fighting Girl, Saito Tamaki offers a far more sophisticated and convincing interpretation of this alluring and capable figure. For Saito, the beautiful fighting girl is a complex sexual fantasy that paradoxically lends reality to the fictional spaces she inhabits. As an object of desire for male otaku (obsessive fans of anime and manga), she saturates these worlds with meaning even as her fictional status demands her ceaseless proliferation and reproduction. Rejecting simplistic moralizing, Saito understands the otaku’s ability to eroticize and even fall in love with the beautiful fighting girl not as a sign of immaturity or maladaptation but as a result of a heightened sensitivity to the multiple layers of mediation and fictional context that constitute life in our hypermediated world—a logical outcome of the media they consume.Featuring extensive interviews with Japanese and American otaku, a comprehensive genealogy of the beautiful fighting girl, and an analysis of the American outsider artist Henry Darger, whose baroque imagination Saito sees as an important antecedent of otaku culture, Beautiful Fighting Girl was hugely influential when first published in Japan, and it remains a key text in the study of manga, anime, and otaku culture. Now available in English for the first time, this book will spark new debates about the role played by desire in the production and consumption of popular culture.

    The story of Fox News' ascent is an epic story of political power, business success, brass-knuckle tactics, and old-school showmanship.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    "[S]urprisingly vivid accounts" (People) of such public icons as Lana Turner, Rock Hudson, Kim Novak, and Mae West explore the private scandals exploited by tabloids such as Confidential. Highlighting Hollywood's curious religious revival with The Robe, the film industry's exploitation of the potboiler Peyton Place, and the life of anarchic director Nick Ray of the enduring classic Rebel without a Cause, the authors "[give] a compelling sense" (Kirkus Reviews) of the unique obsessions of the era and the city's attempts to reinvent the magic and mystery of its past glories. Guided by the authors' historical savvy and intimate storytelling, we discover a city at a crossroads, attempting to reinvent the magic and mystery of its past glories. Tragic, irreverent, and always entertaining, The Bad and the Beautiful reveals the underground history of this turbulent decade in American film.

    

    

    Joe Hagan provides readers with a backstage pass to storied concert venues and rock-star hotel rooms; he tells never before heard stories about the lives of rock stars and their handlers; he details the daring journalism (Tom Wolfe, Hunter S. Thompson, P.J. O'Rourke) and internecine office politics that accompanied the start-up; he animates the drug and sexual appetites of the era; and he reports on the politics of the last fifty years that were often chronicled in the pages of Rolling Stone magazine.Supplemented by a cache of extraordinary documents and letters from Wenner's personal archives, Sticky Fingers depicts an ambitious, mercurial, wide-eyed rock and roll fan of who exalts in youth and beauty and learns how to package it, marketing late sixties counterculture as a testament to the power of American youth. The result is a fascinating and complex portrait of man and era, and an irresistible biography of popular culture, celebrity, music, and politics in America.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

     Breathing new life into a story that has been rife with controversy and prejudice for over two centuries, the film follows the rise of the visionary Virginian slave, Nat Turner. Hired out by his owner to preach to and placate slaves on drought-plagued plantations, Turner eventually transforms into an inspired, impassioned, and fierce anti-slavery leader. Beautifully illustrated with stills from the movie and original illustrations, the book also features an essay by writer/director, Nate Parker, contributions by members of the cast and crew, and commentary by educator Brian Favors and historians Erica Armstrong Dunbar and Daina Ramey Berry who place Nat Turner and the rebellion he led into historical context. The Birth of a Nation reframes the way we think about slavery and resistance as it explores the passion, determination, and faith that inspired Nat Turner to sacrifice everything for freedom.

    With a worldly generosity, LaGuardia knowingly and sensitively explores a famous man haunted by same-sexuality. His writing fearlessly penetrates the dark areas of the human psyche. (Many unpublished photographs).

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    Race rebels, argues Kelley, have created strategies of resistance, movements, and entire subcultures. Here, for the first time, everyday race rebels are given the historiographical attention they deserve, from the Jim Crow era to the present.