Now, on YouTube and blogs and Facebook and Twitter, we are media. And while we watch more television than ever before, how we watch it is changing in ways we have barely slowed down to register. No longer content in our traditional role as couch potatoes, we approach television shows, movies, even advertising as invitations to participate—as experiences to immerse ourselves in at will. Wired contributing editor Frank Rose introduces us to the people who are reshaping media for a two-way world—people like Will Wright (The Sims), James Cameron (Avatar), Damon Lindelof (Lost), and dozens of others whose ideas are changing how we play, how we chill, and even how we think. The Art of Immersion is an eye-opening look at the shifting shape of entertainment today.

    Step right up and get your fill of 80s nostalgia with the movie bible to end all movie bibles. We’ve diligently compiled a list of 140 of the most influential movies of the 1980s that’s sure to please popcorn gobblers and highbrow chin-strokers alike. The 80s was a time for adventurers, an era of excess, pomp, and bravado. In the era when mullets and shoulder pads were all the rage, moviegoers got their kicks from flicks as wide-ranging as Blade Runner, When Harry Met Sally, and Blue Velvet. Without a doubt, sci-fi was the most important genre of the decade, with non-human characters like E.T. winning the hearts of millions while the slimy creatures from Aliens became the stuff of nightmares and movies like Ghostbusters and Back to the Future fused comedy and sci-fi to the delight of audiences everywhere. In fact, the 1980s saw the invention of a new reality, a movieworld so convincingly real - no matter now far-fetched - that spectators could not help but abandon hemselves to it. Now that’s entertainment, folks.

    With him ride his wives, his sisters, his daughters, his aunts and his distant female relatives. Unhindered by a relatively recent conversion to Islam, these women will help found a culture of such magnificence and beauty that it will become a by-word for opulence in the world. These Mughal women of Hindustan—unmarried daughters, eccentric sisters, fiery milk-mothers and beautiful wives, will contribute to the great syncretic culture of the Mughals by writing biographies, building monuments, engaging in diplomacy, and patronizing the arts. And even as the zenana changes from the earlier nomadic, tented spaces to the later more sequestered grandeur within the high stone walls of mighty qilas, the influence of the women remains visible and unquestioned. This book looks at the lives of these Mughal women, and the enigma of their disappearance, except as objects of curiosity, from our collective memory.

    Scott Poole traces the confluence of history, technology, and art that gave us modern horror films and literatureIn the early twentieth century, World War I was the most devastating event humanity had yet experienced. New machines of war left tens of millions killed or wounded in the most grotesque of ways. The Great War remade the world’s map, created new global powers, and brought forth some of the biggest problems still facing us today. But it also birthed a new art form: the horror film, made from the fears of a generation ruined by war.From Nosferatu to Frankenstein’s monster and the Wolf Man, from Fritz Lang, F. W. Murnau, and Albin Grau to Tod Browning and James Whale, the touchstones of horror can all trace their roots to the bloodshed of the First World War. Historian W. Scott Poole chronicles these major figures and the many movements they influenced. Wasteland reveals how bloody battlefields, the fear of the corpse, and a growing darkness made their way into the deepest corners of our psyche.On the one-hundredth anniversary of the signing of the armistice that brought World War I to a close, W. Scott Poole takes us behind the front lines of battle to a no-man’s-land where the legacy of the War to End All Wars lives on.

    Now revised to include new words and updated essays, Keywords focuses on the sociology of language, demonstrating how the key words we use to understand our society take on new meanings and how these changes reflect the political bent and values of society.

    Anand Teltumbde identifies the watershed moments of its journey: from the adoption of a flawed Constitution to the Green Revolution, the OBC upsurge, the rise of regional parties, and up to the nexus of neoliberalism and hindutva in the present day. Joining the dots between a wide range of events on the ground and the prevailing structure of power, he debunks the pieties of state and Constitution, political parties and identitarian rhetoric, to reveal the pernicious energies they have unleashed and their dire impact on India’s most marginalised people, the dalits.The exclusion and disempowerment of dalits emerges as intrinsic to India’s republican system, whether expressed through state policies on education, agriculture and land ownership, or the tacit encouragement of caste embedded in both law and political practice. Here, the carrot of reservations comes with the stick of atrocities. As a politics of symbolism exploits the fissile nature of caste to devitalise India’s poorest whilst appropriating their votes, Teltumbde’s damning analysis also shows progressive politics a way out of the present impasse.Anand Teltumbde is a civil rights activist and a columnist with the Economic & Political Weekly. Among his many books are Dalits: Past, Present and Future, Mahad: The Making of the First Dalit Revolt and The Persistence of Caste: The Khairlanji Murders and India’s Hidden Apartheid. He teaches at the Goa Institute of Management.

    He describes his gut-wrenching experiences of growing up in a Dalit basti, the multiple humiliations suffered by Dalits on a daily basis, and their incredible resilience enabled by love and humour. As he brings to light the immovable glass ceiling that exists for Dalits even in politics, bureaucracy and judiciary, Yengde provides an unflinchingly honest account of divisions within the Dalit community itself—from their internal caste divisions to the conduct of elite Dalits and their tokenized forms of modern-day untouchability—all operating under the inescapable influences of Brahminical doctrines.This path-breaking book reveals how caste crushes human creativity and is disturbingly similar to other forms of oppression, such as race, class and gender. At once a reflection on inequality and a call to arms, Caste Matters argues that until Dalits lay claim to power and Brahmins join hands against Brahminism to effect real transformation, caste will continue to matter.

    Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career – on the basis of his innovative capability, determination, hard work and never-say-die attitude. In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale! Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jwar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries. After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In these movies he played the tragedian with such intensity that his psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azaad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.

    When he was only nine years old, Satish Kumar renounced the world and joined the wandering brotherhood of Jain monks. Dissuaded from this path by an inner voice at the age of 18, he became a campaigner for land reform, working to turn Gandhi's vision of a renewed India into reality. Fired by the example of Bertrand Russell, he undertook an 8,000-mile peace pilgrimage, walking from India to America without any money, through mountains, deserts, storms, and snow. It was an adventure during which he was thrown into jail in France, faced a loaded gun in America, and delivered packets of “peace tea” to the leaders of the four nuclear powers. In 1973 he settled in England, taking on the editorship of Resurgence magazine, and becoming the guiding light behind a number of ecological spiritual and educational ventures. Following Indian tradition, in his 50th year he undertook another pilgrimage: again without any money, he walked to the holy places of Britain—Glastonbury Lindisfarne and Iona. All of this and more is recounted in this fascinating autobiography.

    Study of Islamic canonical decisions (Fatwas) issued in India during the last hundred years.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Yet the working of the Constitution over the last seven decades has often failed to fulfill that transformative promise. Not only have successive Parliaments failed to repeal colonial-era laws that are inconsistent with the principles of the Constitution, but constitutional challenges to these laws have also failed before the courts. Indeed, in numerous cases, the Supreme Court has used colonial-era laws to cut down or weaken the fundamental rights. The Transformative Constitution by Gautam Bhatia draws on pre-Independence legal and political history to argue that the Constitution was intended to transform not merely the political status of Indians from subjects to citizens, but also the social relationships on which legal and political structures rested. He advances a novel vision of the Constitution, and of constitutional interpretation, which is faithful to its text, structure and history, and above all to its overarching commitment to political and social transformation.