The city of Juárez is ground zero for the drug war that is raging across Mexico and has claimed close to 60,000 lives since 2007. Almost a quarter of the federal forces that former President Felipe Calderón deployed in the war were sent to Juárez, and nearly 20 percent of the country’s drug-related executions have taken place in the city, a city that can be as unforgiving as the hardest places on earth. It is here that the Mexican government came to turn the tide. Whatever happens in Juárez will have lasting repercussions for both Mexico and the United States.

Ricardo Ainslie went to Juárez to try to understand what was taking place behind the headlines of cartel executions and other acts of horrific brutality. In The Fight to Save Juárez, he takes us into the heart of Mexico’s bloodiest city through the lives of four people who experienced the drug war from very different perspectives—Mayor José Reyes Ferriz, a mid-level cartel player’s mistress, a human rights activist, and a photojournalist. Ainslie also interviewed top Mexican government strategists, including members of Calderón’s security cabinet, as well as individuals within U.S. law enforcement. The dual perspective of life on the ground in the drug war and the “big picture” views of officials who are responsible for the war’s strategy, creates a powerful, intimate portrait of an embattled city, its people, and the efforts to rescue Juárez from the abyss.

The French Resistance has an iconic status in the struggle to liberate Nazi-occupied Europe, but its story is entangled in myths. Gaining a true understanding of the Resistance means recognizing how its image has been carefully curated through a combination of French politics and pride, ever since jubilant crowds celebrated Paris’s liberation in August 1944. Robert Gildea’s penetrating history of resistance in France during World War II sweeps aside “the French Resistance” of a thousand clichés, showing that much more was at stake than freeing a single nation from Nazi tyranny.

As Fighters in the Shadows makes clear, French resistance was part of a Europe-wide struggle against fascism, carried out by an extraordinarily diverse group: not only French men and women but Spanish Republicans, Italian anti-fascists, French and foreign Jews, British and American agents, and even German opponents of Hitler. In France, resistance skirted the edge of civil war between right and left, pitting non-communists who wanted to drive out the Germans and eliminate the Vichy regime while avoiding social revolution at all costs against communist advocates of national insurrection. In French colonial Africa and the Near East, battle was joined between de Gaulle’s Free French and forces loyal to Vichy before they combined to liberate France.

Based on a riveting reading of diaries, memoirs, letters, and interviews of contemporaries, Fighters in the Shadows gives authentic voice to the resisters themselves, revealing the diversity of their struggles for freedom in the darkest hours of occupation and collaboration.

Fighting Corporate Abuse demonstrates, through compelling and revelatory analysis, the legislation and regulation needed to deal with the abuses in the corporate sector that have been revealed in recent years. It highlights the more general contribution of company law and practice to the current crisis in capitalism.

The first section develops a controversial argument, using detailed illustrations and vivid examples which show how the various abuses of predatory capitalism have been carried out through the manipulation of the corporate form and the creation of highly complex corporate groups. The group of authors, all experts in their fields, tackle head-on the issues of tax evasion, extraction of value and asset stripping, environmental destruction and managerial self-interest. In doing so, they paint a picture of a system that is abusive, and degenerated, but also a system which can be reformed.

In the run up to the UK general election, the authors develop of a set of practical proposals for an incoming government, outlining how each of these abuses could be curtailed and how a more acceptable and accountable form of corporate capitalism can be developed through national and international action.

Drawing on the group’s activism, as well as their academic experience in law, politics, economics and human rights, this will be an authoritative as well as a highly practical book.

2021 American Anthropological Association´s, finalist of the Association for Political and Legal Anthropology Book Prize in Critical Anthropology

Mining investment in Peru has been presented as necessary for national progress; however, it also has brought socioenvironmental costs, left unfulfilled hopes for development, and has become a principal source of confrontation and conflict.

Fighting for Andean Resources focuses on the competing agendas for mining benefits and the battles over their impact on proximate communities in the recent expansion of the Peruvian mining frontier. The book complements renewed scrutiny of how globalization nurtures not solely antagonism but also negotiation and participation.

Having mastered an intimate knowledge of Peru, Vladimir R. Gil Ramón insightfully documents how social technologies of power are applied through social technical protocols of accountability invoked in defense of nature and vulnerable livelihoods. Although analyses point to improvements in human well-being, a political and technical debate has yet to occur in practice that would define what such improvements would be, the best way to achieve and measure them, and how to integrate dimensions such as sustainability and equity.

Many confrontations stem from frustrated expectations, environmental impacts, and the virtual absence of state apparatus in the locations where new projects emerged. This book presents a multifaceted perspective on the processes of representation, the strategies in conflicts and negotiations of development and nature management, and the underlying political actions in sites affected by mining.

One of the Most Important Battlegrounds in the History of America

While it is in the eastern United States where most Americans identify our military history, the vast, resource-rich Pacific Northwest, stretching from Northern California through British Columbia, endured a series of battles and wars over the course of the nineteenth century that were of regional and national importance. It was here where Great Britain and the United States had their final confrontation in the Americas, where Chief Joseph attempted to secure independence for the Nez Perce, and where the Oregon Trail marked the first great migration to the West of settlers bent on carving out new lives in the wilderness. The Pacific Northwest also saw some of the only attacks on the mainland by Japan during World War II.

Beginning with the earliest known accounts of wars among the American Indians of the region, Fighting for Paradise: A Military History of the Pacific Northwest describes early European contact, including British trappers of the Hudson's Bay Company, the Lewis and Clark Expedition, Jedediah Smith, and John Jacob Astor's trading post. The competition over the lucrative fur trade led to the "Pig War," which almost resulted in another armed conflict between Great Britain and the United States, but it was the influx of settlers from the Oregon Trail that touched off the long bitter battles between whites and American Indians. Starting with the 1847 Whitman Massacre and the ensuing war it touched off, the book covers the next three decades of violence, ending with the Sheepeater's War in 1879. Kurt R. Nelson then relates the Pacific Northwest's contributions to the Spanish-American and Philippine-American Wars, the Mexican Punitive Expedition, World War I, and finally World War II, where the region fought Japanese submarine attacks and was harassed by balloon bombs. Throughout, the author provides current information about the state of preservation of various battle sites and other points of historical interest. Accompanied by maps and photographs, Fighting for Paradise provides insight into an area of American military history, rich in drama, that is not generally known.

The most up-to-date sourcebook on warfare in the ancient Near East

Fighting for the King and the Gods provides an introduction to the topic of war and the variety of texts concerning many aspects of warfare in the ancient Near East. These texts illustrate various viewpoints of war and show how warfare was an integral part of life. Trimm examines not only the victors and the famous battles, but also the hardship that war brought to many. While several of these texts treated here are well known (i.e., Ramses II's battle against the Hittites at Qadesh), others are known only to specialists. This work will allow a broader audience to access and appreciate these important texts as they relate to the history and ideology of warfare.

Features

• References to recent secondary literature for further study
• Early Greek and Chinese illustrative texts for comparisons with other cultures
• Indices to help guide the reader

Historians have long believed that Catholics were late and ambivalent supporters of the German nation. Rebecca Ayako Bennette’s bold new interpretation demonstrates definitively that from the beginning in 1871, when Wilhelm I was proclaimed Kaiser of a unified Germany, Catholics were actively promoting a German national identity for the new Reich.

In the years following unification, Germany was embroiled in a struggle to define the new nation. Otto von Bismarck and his allies looked to establish Germany as a modern nation through emphasis on Protestantism and military prowess. Many Catholics feared for their future when he launched the Kulturkampf, a program to break the political and social power of German Catholicism. But these anti-Catholic policies did not destroy Catholic hopes for the new Germany. Rather, they encouraged Catholics to develop an alternative to the Protestant and liberal visions that dominated the political culture. Bennette’s reconstruction of Catholic thought and politics sheds light on several aspects of German life. From her discovery of Catholics who favored a more “feminine” alternative to Bismarckian militarism to her claim that anti-socialism, not anti-Semitism, energized Catholic politics, Bennette’s work forces us to rethink much of what we know about religion and national identity in late nineteenth-century Germany.

Through vivid interviews amplified by the author's responses and commentary, these attorneys reveal aspects of their internal experience that they have never talked about until now. How do capital defenders manage the weight of the responsibility they carry? To what extent do they experience symptoms of trauma in the aftermath of losing a client to execution or as a result of the cumulative effects of engaging in capital defense work? What motivates them, and what do they draw upon, in order to keep engaging in such emotionally demanding work? Have they considered practicing other types of law? What can we learn from capital defenders not only about the deep and long-term effects of the death penalty but also about broader human questions of hope, effectiveness, success, failure, strength, fragility, and perseverance?

U.S. foreign policy has long been built on a dichotomy of an irreplaceable “here” and an expendable “there.” In his 2003 announcement of the military campaign in Iraq, George W. Bush declared that we would fight in the Middle East so we wouldn’t have to fight “on the streets of our cities.” But what do the millions of people who live over “there” have to say about U.S. interventions and the displacement they provoke?

In this pathbreaking study, Alaina Kaus analyzes literature by and about refugees who fled Southeast Asia, Central America, the Caribbean, North Africa, and the Middle East, in the wake of U.S. military occupation and economic intervention. Narratives by authors such as Lan Cao, Viet Thanh Nguyen, Demetria Martínez, Héctor Tobar, Dave Eggers, Mohsin Hamid, and Riverbend reveal contradictions in the human rights pledges that undergird U.S. foreign policy, which promote freedom while authorizing intervention and displacement, and favor market-based solutions over social justice and racial equality.

Decades after President Johnson initiated the War on Poverty, it is time for an unbiased assessment of its effects. In this book a distinguished group of economists, sociologists, political scientists, and social policy analysts provide that assessment. Spending on social programs has greatly increased, yet poverty has declined only slightly. Do the numbers alone give an accurate picture? Have the government's efforts, as some critics claim, done more harm than good? The authors of this volume provide a balanced and wide-ranging analysis of antipoverty policies since the 1960s, including both successes and failures.

The evidence shows that simple comparisons of spending levels and poverty trends do not tell the whole story: they obscure the diversity of the poor population and the many complex issues involved in evaluating policies. The authors address such questions as: How do economic growth, social movements, and changes in thewelfare system affect the poor? What economic and political factors influence antipoverty programs, and conversely, what implications do these programs have for employment, education, health care, family structure, and civil rights?The authors' account of past failures and their agenda for the next decade show clearly that much remains to be done. Yet they are not as pessimistic as some writers, who maintain that nothing will work. Rather, they say, nothing will work miracles.

As a guide to the economics and politics of antipoverty programs, this volume is peerless. It is certain to become an important reference for students and scholars in the field, for policy analysts and policymakers, and for program administrators.

Despair at Gallipoli. Victory at Vimy Ridge. A European generation lost, an American spirit found. The First World War, the deadly herald of a new era, continues to captivate readers. In this lively book, Michael Neiberg offers a concise history based on the latest research and insights into the soldiers, commanders, battles, and legacies of the Great War.

Tracing the war from Verdun to Salonika to Baghdad to German East Africa, Neiberg illuminates the global nature of the conflict. More than four years of mindless slaughter in the trenches on the western front, World War I was the first fought in three dimensions: in the air, at sea, and through mechanized ground warfare. New weapons systems--tanks, bomber aircraft, and long-range artillery--all shaped the battle environment. Moving beyond the standard portrayal of the war's generals as "butchers and bunglers," Neiberg offers a nuanced discussion of officers constrained by the monumental scale of complex events. Diaries and letters of men serving on the front lines capture the personal stories and brutal conditions--from Alpine snows to Mesopotamian sands--under which these soldiers lived, fought, and died.

Generously illustrated, with many never-before-published photographs, this book is an impressive blend of analysis and narrative. Anyone interested in understanding the twentieth century must begin with its first global conflict, and there is no better place to start than with Fighting the Great War.

Thought provoking and timely, Fighting Visibility tells the story of how a sports entertainment phenomenon made difference a part of its brand—and the ways women paid the price for success.

Fighting Words profiles five journalists who published the truth as they saw it, no matter how their reporting angered politicians, social and religious leaders, or other journalists.

The five journalists are William Brann (1855–1898), Don Biggers (1868–1957), John Granbery (1874–1953), Archer Fullingim (1902–1984), and Stoney Burns [Brent Stein] (1942–2011). Though they lived in different eras, all these men dealt with issues that society continues to face—racism, official corruption, religious freedom, educational reform, political extremism of the left and right, the clash of urban and rural values, and the fear of change. Their lives and work constitute a unique, alternative perspective on Texas history and the history of journalism itself.

In addition to the troubling questions they raised on social issues, these independent journalists challenge us, as they challenged the mainline media of their own times, to define the function of journalism and to examine the mandate of the First Amendment. We may doubt the wisdom of some of their convictions, but not the courage they needed to express them in the face of ridicule, hostility, intimidation, and even death. More than the specific causes they fought for, the independents’ passion for truth and their absolute belief in free speech constitute their greatest legacy to us and to journalism.

The rootless Jew, wandering disconnected from history, homeland, and nature, was often  the target of early twentieth-century nationalist rhetoric aimed against modern culture. But following World War II, a number of prominent French philosophers recast this maligned figure in positive terms, and in so doing transformed postwar conceptions of politics and identity.

Sarah Hammerschlag explores this figure of the Jew from its prewar usage to its resuscitation by Jean-Paul Sartre, Emmanuel Levinas, Maurice Blanchot, and Jacques Derrida. Sartre and Levinas idealized the Jew’s rootlessness in order to rethink the foundations of political identity. Blanchot and Derrida, in turn, used the figure of the Jew to call into question the very nature of group identification. By chronicling this evolution in thinking, Hammerschlag ultimately reveals how the figural Jew can function as a critical mechanism that exposes the political dangers of mythic allegiance, whether couched in universalizing or particularizing terms.

Both an intellectual history and a philosophical argument, The Figural Jew will set the agenda for all further consideration of Jewish identity, modern Jewish thought, and continental philosophy.

Winner, 2015 LAJSA Best Book in Latin American Jewish Studies

The practices of interrogation, torture, and confession have resurfaced in public debates since the early 2000s following human rights abuses around the globe. Yet discussion of torture has remained restricted to three principal fields: the legal, the pragmatic, and the moral, eclipsing the less immediate but vital question of what torture does.Figurative Inquisitions seeks to correct this lacuna by approaching the question of torture from a literary vantage point.

This book investigates the uncanny presence of the Inquisition and marranismo (crypto-Judaism) in modern literature, theater, and film from Mexico, Brazil, and Portugal. Through a critique of fictional scenes of interrogation, it underscores the vital role of the literary in deconstructing the relation between torture and truth. Figurative Inquisitions traces the contours of a relationship among aesthetics, ethics, and politics in an account of the "Inquisitional logic" that continues to haunt contemporary political forms. In so doing, the book offers a unique humanistic perspective on current torture debates.

A new inclusiveness, a heady freedom, grounded in the facts of mortality, inform Gail Mazur’s recent poems, as if making them has served as both a bunker and a promontory, a way to survive, and to be exposed to, the profound underlying subject of this book: a husband’s approaching death. The intimate particulars of a shared life are seen from a great height—and then there’s the underlife of the bunker: endurance, holding on, life as uncompromising reality. This new work, possessed by the unique devil-may-care intensity of someone writing at the end of her nerves, makes Figures in a Landscape feel radiant, visionary, and exhilarating, rather than elegiac. Mazur’s masterly fusion of abstraction with the facts of a life creates a coming to terms with what Yeats called “the aboriginal ice.”

Ubiquitous in the streets and brothels of nineteenth-century Paris, the prostitute was even more so in the novels and paintings of the time. Charles Bernheimer discusses how these representations of the sexually available woman express male ambivalence about desire, money, class, and the body. Interweaving close textual readings with historical anecdote and theoretical speculation, Bernheimer demonstrates how the formal properties of art can serve strategically to control anxious fantasies about female sexual power.

Bernheimer looks first at the supposed objectivity of the official discourse on prostitution, where he pinpoints revealing strategies for legitimizing private fantasies and linking female sexuality to pathology and disease. He then traces the development of modernist artistic techniques as a response to the increasing virulence of these fantasies of organic decay. The objects of Bernheimer's analyses range from works scandalous in their time, such as Maner's Olympia and Zola's Nana, to great popular successes, such as Sue's Mysteries of Paris, to "in" books praised by connoisseurs, such as Haubert's Sentimental Education and Huysmans's Against Nature, to works made for private enjoyment, such as Degas's brothel images. Intriguing and highly readable, these analyses offer new insights into the ideological function of art in structuring attitudes toward sex, gender, and power.

A philosophical exploration of how modern global cinema represents everyday means of resisting authoritarianism and totalitarianism

Václav Havel’s concept of “living within the truth” in an authoritarian regime frames Marguerite La Caze’s readings of international cinema, highlighting forms of resistance in which seemingly pre- or nonpolitical aspects of life—such as professional labor, exile, and truth telling—can be recognized as political when seen against a backdrop of general acquiescence. La Caze’s case studies cross genres, historical eras, and national contexts: the apartheid regime in South Africa, in A Dry White Season; post-Suharto Indonesia, in The Look of Silence; 1980s East Germany, in Barbara; the Chilean military dictatorship, in No; contemporary Iran, in A Separation; and current-day Saudi Arabia, in Wadjda. This book explores the films’ use of image, sound, narrative, and character in dialogue with the work of Simone de Beauvoir, Aimé Cesaire, Hannah Arendt, Sara Ahmed, and W. E. B. Du Bois to reveal how cinema depicts ordinary people enacting their own philosophies of defiance.

The Weimar Republic of Germany, covering the post-World War I period of civil and governmental strife, witnessed a great struggle among a variety of ideologies, a struggle for which the arts provided one important arena. Leftist individuals and organizations critiqued mainstream art production and attempted to counter what they perceived as its conservative-to-reactionary influence on public opinion. In this groundbreaking study, Bruce Murray focuses on the leftist counter-current in Weimar cinema, offering an alternative critical approach to the traditional one of close readings of the classical films.

Beginning with a brief review of pre-Weimar cinema (1896-1918), he analyzes the film activity of the Social Democratic Party, the German Communists, and independent leftists in the Weimar era. Leftist filmmakers, journalists, and commentators, who in many cases contributed significantly to marginal leftist as well as mainstream cinema, have, until now, received little scholarly attention. Drawing on exhaustive archival research and personal interviews, Murray shows how the plurality of aesthetic models represented in the work of individuals who participated in leftist experiments with cinema in the 1920S collapsed as Germany underwent the transition from parliamentary democracy to fascist dictatorship. He suggests that leftists shared responsibility for that collapse and asserts the value of such insights for those who contemplate alternatives to institutional forms of cinematic discourse today.

From reviews of the third edition:

“Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope

Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.

This is the first study to cover cinemas from Iran to Morocco. Nine essays present the region's major national cinemas, devoting special attention to the work of directors who have given image and voice to dissent from political regimes, from patriarchal customs, from fundamentalist movements, and from the West. These country essays are complemented by in-depth discussions of eighteen films that have been selected for both their excellence and their critical engagement with pressing current issues. The introduction provides a comprehensive overview of filmmaking throughout the region, including important films produced outside the national cinemas. The long history of Iranian cinema, its international renown, and the politics of directors confronting the state, earns it a special place in this volume. The other major emphasis is on the Israel/Palestine conflict, featuring films by Palestinian directors, Israelis, and an Egyptian working in Syria.

Nineteen authors collaborated on this book, among them Walter Armbrust, Roy Armes, Kevin Dwyer, Eric Egan, Nurith Gertz, Lina Khatib, Florence Martin, and Nadia Yaqub. About half of the contributors are film scholars; the others range across literary studies and the social sciences to two film directors and a novelist. Beyond differences in disciplinary orientation, there is considerable variation among contributors in the perspectives that inform their writing. They offer an illuminating range of approaches to the cinemas of the region.

The book is richly illustrated with posters of the featured films, photos of their directors at work, and stills illustrating critical arguments in the film essays.

Film noir remains one of the most enduring legacies of 1940s and ’50s Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity—particularly the urban landscape.

The originality of Dimendberg’s approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood’s dark thrillers of the postwar decades were determined by the same forces that shaped the city itself.

Exploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture—and will captivate admirers of a vital period in American cinema.

One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that “would really be able to move.” Most existing studies of Lynch, however, fail to engage fully with the complexities of his films’ relationship to other art forms. The Film Paintings of David Lynch fills this void, arguing that Lynch’s cinematic output needs to be considered within a broad range of cultural references.

Aiming at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch’s films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch films—The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, The Straight Story, Mulholland Drive, Inland Empire—are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. The Film Paintings of David Lynch offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch's films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.

Discarded by archivists and disregarded by scholars despite its cultural impact on post–World War II Europe, the film photonovel represents a unique crossroads. This hybrid medium presented popular films in a magazine format that joined film stills or set pictures with captions and dialogue balloons to re-create a cinematic story, producing a tremendously popular blend of cinema and text that supported more than two dozen weekly or monthly publications.

Illuminating a long-overlooked ‘lowbrow’ medium with a significant social impact, The Film Photonovel studies the history of the format as a hybrid of film novelizations, drawn novels, and nonfilm photonovels. While the field of adaptation studies has tended to focus on literary adaptations, this book explores how the juxtaposition of words and pictures functioned in this format and how page layout and photo cropping could affect reading. Finally, the book follows the film photonovel's brief history in Latin America and the United States. Adding an important dimension to the interactions between filmmakers and their audiences, this work fills a gap in the study of transnational movie culture.

Addressing representation and identity in a variety of production styles and genres, including experimental film and documentary, independent and mainstream film, and television drama, Filming Difference poses fundamental questions about the ways in which the art and craft of filmmaking force creative people to confront stereotypes and examine their own identities while representing the complexities of their subjects.

Selections range from C. A. Griffith's "Del Otro Lado: Border Crossings, Disappearing Souls, and Other Transgressions" and Celine Perreñas Shimizu's "Pain and Pleasure in the Flesh of Machiko Saito's Experimental Movies" to Christopher Bradley's "I Saw You Naked: 'Hard' Acting in 'Gay' Movies," along with Kevin Sandler's interview with Paris Barclay, Yuri Makino's interview with Chris Eyre, and many other perspectives on the implications of film production, writing, producing, and acting.

Technical aspects of the craft are considered as well, including how contributors to filmmaking plan and design films and episodic television that feature difference, and how the tools of cinema—such as cinematography and lighting—influence portrayals of gender, race, and sexuality. The struggle between economic pressures and the desire to produce thought-provoking, socially conscious stories forms another core issue raised in Filming Difference. Speaking with critical rigor and creative experience, the contributors to this collection communicate the power of their media.

Bong Joon Ho won the Oscar® for Best Director for Parasite (2019), which also won Best Picture, the first foreign film to do so, and two other Academy Awards. Parasite was the first Korean film to win the Palme d’Or at Cannes. These achievements mark a new career peak for the director, who first achieved wide international acclaim with 2006’s monster movie The Host and whose forays into English-language film with Snowpiercer (2013) and Okja (2017) brought him further recognition.

As this timely book reveals, even as Bong Joon Ho has emerged as an internationally known director, his films still engage with distinctly Korean social and political contexts that may elude many Western viewers. The Films of Bong Joon Ho demonstrates how he hybridizes Hollywood conventions with local realities in order to create a cinema that foregrounds the absurd cultural anomie Koreans have experienced in tandem with their rapid economic development. Film critic and scholar Nam Lee explores how Bong subverts the structures of the genres he works within, from the crime thriller to the sci-fi film, in order to be truthful to Korean realities that often deny the reassurances of the happy Hollywood ending. With detailed readings of Bong’s films from Barking Dogs Never Bite (2000) through Parasite (2019), the book will give readers a new appreciation of this world-class cinematic talent.

Photographers and their images were critical to the making of Mozambique, first as a colony of Portugal and then as independent nation at war with apartheid in South Africa. When the Mozambique Liberation Front came to power, it invested substantial human and financial resources in institutional structures involving photography, and used them to insert the nation into global debates over photography's use. The materiality of the photographs created had effects that neither the colonial nor postcolonial state could have imagined.
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Filtering Histories: The Photographic Bureaucracy in Mozambique, 1960 to Recent Times tells a history of photography alongside state formation to understand the process of decolonization and state development after colonial rule. At the center of analysis are an array of photographic and illustrated materials from Mozambique, South Africa, Portugal, and Italy. Thompson recreates through oral histories and archival research the procedures and regulations that engulfed the practice and circulation of photography. If photographers and media bureaucracy were proactive in placing images of Mozambique in international news, Mozambicans were agents of self-representation, especially when it came to appearing or disappearing before the camera lens. Drawing attention to the multiple images that one published photograph may conceal, Filtering Histories introduces the popular and material formations of portraiture and photojournalism that informed photography's production, circulation, and archiving in a place like Mozambique. The book reveals how the use of photography by the colonial state and the liberation movement overlapped, and the role that photography played in the transition of power from colonialism to independence.

Final Solutions offers a ground-breaking and genuinely unique analysis of modern genocide. Sabby Sagall draws on the insights of the Frankfurt school and Wilhelm Reich to create an innovative combination of Marxism and psychoanalysis. He argues that genocide is a product of an ‘irrational’ destructiveness by social classes or communities that have suffered major historical defeats or similar forms of extreme stress.

Sagall shows how the denial of human needs and the ensuing feelings of isolation and powerlessness propel groups to project their impotent rage, hatred and destructiveness engendered by these defeats on to the 'outsider' and the 'other'.

The book applies this theoretical framework to four modern genocides – that of the Native Americans, the Armenians, the Jews and the Rwandan Tutsis. This is a truly pioneering contribution which adds to our understanding of some of the darkest hours of humanity – and how we can stop them from happening again.

This book is a major contribution exploring the policy options available for developing and emerging economies in response to the global economic crises.

Written by a highly respected development economist, the book gives a clear-eyed account of the issues particular to these countries and critically evaluates different policy approaches, including reforms in financial, monetary and trade policies. Informed by deep scholarship as well as practical experience, Yilmaz Akyüz draws on empirical data, historical context and theoretical expertise, with special attention paid to issues such as the role of the International Monetary Fund and China.

The Financial Crisis and the Global South is a landmark book that will be of interest to practitioners, scholars, theorists and students of economics and development studies.

This ninth title in the series Studies in the Modernization of the Republic of Korea offers new insights into the role of finance in a rapidly developing country. Combining history and theory, it provides a rigorous test of previous theoretical propositions. The study illustrates the complexity of the Korean financial system and the danger of easy generalization from partial evidence.

The two major components of the financial system are brought into focus—one regulated and statistically recorded, the other unregulated, unrecorded. The burden of financial intermediation shifts from one to the other largely in response to government policy measures. By looking only at the regulated sector, previous studies have often misperceived the role of the financial system and the effects of government policies. The financial scandal in Seoul in May 1982 vividly demonstrated that the unregulated part of the system is still important and that overregulation of the “modern” part generates strong pressures for perpetuating the illegal, unregulated, “traditional” financial institutions.

Since the early 1980s, Korea’s financial development has been a tale of liberalization and opening. After the 1997 financial crisis, great strides were made in building a market-oriented financial system through sweeping reforms for deregulation and the opening of financial markets. However, the new system failed to steer the country away from a credit card boom and bust in 2003, a liquidity crisis in 2008, and a run on its savings banks in 2011, and has been severely tested again by the ongoing COVID-19 pandemic crisis. Financial liberalization, clearly, has been no panacea.

This study analyzes the deepening of and structural changes in Korea’s financial system since the early 1980s and presents the empirical results of the effects of financial development on economic growth, stability, and the distribution of income. It finds that, contrary to conventional wisdom, financial liberalization has contributed little to fostering the growth and stability of the Korean economy and has exacerbated income distribution problems. Are there any merits in financial liberalization? The authors answer this query through empirical examinations of the theories of finance and growth. They point to a clear need to further improve the efficiency, soundness, and stability of Korean financial institutions and markets.

Presenting financial management principles and best practices applicable to both public and academic libraries, this comprehensive text elucidates a broad array of issues crucial for those entering a managerial position. Both thorough and straightforward, Sannwald's treatment

• gives readers a solid grounding in the basics of accounting and finance, with an emphasis on applicability to library management and operations;
• ties budgets and strategic planning to library vision, mission, goals, and objectives;
• discusses the roles of stakeholders such as boards, governmental/municipal bodies, the university, and the community;
• looks at a variety of funding sources, from tax revenue to gifts and donations, and presents sound strategies for including them when projecting income and expenses;
• articulates and discusses the pros and cons of various budget strategies;
• includes sample budgets and forms that can be customized as needed;
• offers expert guidance on modifying budgets for windfalls and shortfalls;
• explains operating ratios, fiscal benchmarking, and metrics, demonstrating how to use these to effectively create and manage a budget and assess the fiscal health of the library; and
• advises on how to effectively prepare and present a budget and annual financial statements to a library's governing agency.

Recently, a volatile global economy has challenged the United States to rethink its financial policies toward economically troubled countries. Emily Rosenberg suggests that perplexing questions about how to standardize practices within the global financial system, and thereby strengthen market economies in unstable areas of the world, go back to the early decades of this century. Then, dollar diplomacy--the practice of extending private U.S. bank loans in exchange for financial supervision over other nations--provided America's major approach to stabilizing economies overseas and expanding its influence.

Policymakers, private bankers, and the members of the emerging profession of international economic advising cooperated in devising arrangements by which U.S. banks would extend foreign loans on the condition that the countries hire U.S. experts to revamp financial systems and exercise some supervision. Rosenberg demonstrates that these arrangements were not simply technical and shows how they became central to foreign policy debates during the 1920s, when increasingly vocal critics at home and abroad assailed dollar diplomacy as a new imperialism. She explores how loan-for-supervision arrangements interrelated with broad cultural notions of racial destiny, professional expertise, and the virtues of manliness. An innovative, interdisciplinary study, Financial Missionaries to the World illuminates the dilemmas of public/private cooperation in foreign economic policy and the incalculable consequences of exercising financial power in the global marketplace.