Europe and Love in Cinema explores the relationship between love and Europeanness in a wide range of films from the 1920s to the present. A critical look at the manner in which love—in its broadest sense—is portrayed in cinema from across Europe and the United States, this volume exposes constructed notions of "Europeanness" that both set Europe apart and define some parts of it as more "European" than others. Through the international distribution process, these films in turn engage with ideas of Europe from both outside and within, while some, treated extensively in this volume, even offer alternative models of love. A bracing collection of essays from top film scholars, Europe and Love in Cinema demonstrates the centrality of desire to film narrative and explores multiple models of love within Europe's frontiers.

András Koerner is the author of a number of critically acclaimed, award-winning CEU Press titles on the cultural history of Hungarian Jews and Jewish cuisine. This volume continues that tradition by discussing the phenomenon of exhibits on Jewish culinary culture in museums and galleries around the world.
The first part of the book provides an overview of the cultural history of "foodism" and the proliferation of Jewish museums. In addition, it examines the role of cuisine in Jewish identity. It offers an analysis of the history and recent examples of exhibitions on Jewish culinary culture, a subject that has not received scholarly attention until now.
The second part complements this by offering a detailed case study of the book’s subject. It showcases a 2022 exhibition in Budapest on the History of Hungarian Jewish Culinary Culture. András Koerner was the co-curator of the show, thus he is able to offer an insider’s account of its implementation – concept, scope, goals, audience, and design. He also openly discusses the compromises made and mistakes committed in the exhibition’s preparatory work.
This subjective account, quite different from the dry objectivity of catalogues, offers an unusual, behind-the-scenes look at how a complex exhibition like this is prepared. At the same time, the book’s appendix includes images of the display boards and some of the exhibited objects – thus it can also stand for a valuable ex-post catalogue.

In Exit of a Hero, Okechukwu Nwafor explores the cultural, political, and socioeconomic implications of photography in commemorative practices in southern Nigeria from the nineteenth century to the present. Focusing on obituary and commemorative photographs of late nineteenth and early twentieth-century Lagos to contemporary funeral posters, booklets, and social media posts, Nwafor tracks the historical evolution of the iconic and heroic image. He argues that the quest to produce an ideal memorial body is not just a personal aesthetic choice but a deliberate photographic project that resonates with the Igbo aspirations for heroic achievement. 

Exit of a Hero asserts that the visual canonization transforms the deceased from a fallible being to an unimpeachable character who transcends underachievement, imperfection, and failed social performance to emerge as a saintly icon of the Igbo public sphere. In seeking an alternative, hyper-visible public self, social media reclaims the lost hero image of the deceased, reconstituting the contested Igbo public space as a lived reality where heroes and icons are actively and eternally commemorated. Nwafor unveils the creative imaginations of colonial subjects and postcolonial citizens as memorialization has become entangled within the intersecting discursive spaces of print culture and the public sphere.

In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach.

In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance, and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory.

In Austin, Texas, in 2002, a group of artists, activists, and academics led by performance studies scholar Omi Osun Joni L. Jones formed the Austin Project (tAP), which meets annually in order to provide a space for women of color and their allies to build relationships based on trust, creativity, and commitment to social justice by working together to write and perform work in the jazz aesthetic.

Inspired by this experience, this book is both an anthology of new writing and a sourcebook for those who would like to use creative writing and performance to energize their artistic, scholarly, and activist practices. Theoretical and historical essays by Omi Osun Joni L. Jones describe and define the African American tradition of art-making known as the jazz aesthetic, and explain how her own work in this tradition inspired her to start tAP.

Key artists in the tradition, from Bessie Award–winning choreographer Laurie Carlos and writer/performer Robbie McCauley to playwrights Daniel Alexander Jones and Carl Hancock Rux, worked with the women of tAP as mentors and teachers. This book brings together never-before-published, must-read materials by these nationally known artists and the transformative writing of tAP participants. A handbook for workshop leaders by Lambda Literary Award–winning writer Sharon Bridgforth, tAP's inaugural anchor artist, offers readers the tools for starting similar projects in their own communities. A full-length script of the 2005 tAP performance is an original documentation of the collaborative, breath-based, body work of the jazz aesthetic in theatre, and provides both a script for use by theatre artists and an invaluable documentation of a major transformative movement in contemporary performance.