From reviews of the first edition:

“Ethnographic Film can rightly be considered a film primer for anthropologists.”
—Choice

“This is an interesting and useful book about what it means to be ethnographic and how this might affect ethnographic filmmaking for the better. It obviously belongs in all departments of anthropology, and most ethnographic filmmakers will want to read it.”
—Ethnohistory

Even before Robert Flaherty released Nanook of the North in 1922, anthropologists were producing films about the lifeways of native peoples for a public audience, as well as for research and teaching. Ethnographic Film (1976) was one of the first books to provide a comprehensive introduction to this field of visual anthropology, and it quickly became the standard reference.

In this new edition, Karl G. Heider thoroughly updates Ethnographic Film to reflect developments in the field over the three decades since its publication, focusing on the work of four seminal filmmakers—Jean Rouch, John Marshall, Robert Gardner, and Timothy Asch. He begins with an introduction to ethnographic film and a history of the medium. He then considers many attributes of ethnographic film, including the crucial need to present "whole acts," "whole bodies," "whole interactions," and "whole people" to preserve the integrity of the cultural context. Heider also discusses numerous aspects of making ethnographic films, from ethics and finances to technical considerations such as film versus video and preserving the filmed record. He concludes with a look at using ethnographic film in teaching.

Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh’s traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession.

The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the “ethos of noh,” the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh’s professionalization—its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.

The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.

Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life

The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.

​​One of the most studied and critiqued documents of the papal magisterium is largely spoken of with regards to moral theology and the refutation of modern error. Yet Adrian Reimers points out that, as affirmed by this encyclical, the moral life is itself a realm of love and freedom, a place of intimacy with the Creator as much as interaction with others. Reimers is eager to show that the Encyclical is more innovative than it looks, just as morality is not just about the correction of error. It is not content to defend the traditional positions; it traces the paths of a profound renewal in the presentation of Catholic morality. "We would gladly say that it performs a kind of discreet revolution in the conception of Christian morality, affecting the very bases that support it."
     The publication of Veritatis Splendor met with vigorous opposition and even rejection within the Catholic theological community. But in Veritatis Splendor John Paul II addresses these contemporary conceptions, including dissention, coming to grips with the roots of the modern errors that have resulted in the loss of transcendence. However, the scope of Veritatis Splendor is far broader than evil and judgment of sin. The pope addresses such issues as conscience, intrinsically evil acts, and the theory of fundamental freedom. Inevitably, these discussions revolve around how to conceive the nature of the human act and the conception of natural law. 
     This present work examines this encyclical against the backdrop of the philosophers with whom Karol Wojtyła engaged in his own philosophical project. Of central concern to Wojtyła throughout his career were the nature and prerogatives of the human person. Among his most frequent modern interlocutors were David Hume, Immanuel Kant, the utilitarian school, and Max Scheler. The program of Wojtyła’s philosophical corpus is to present an alternative account of the human person to that which has marked the post-Enlightenment world. Having shared in the sufferings of his native Poland under the Nazi occupation and then as a scholar working in Communist Poland, Wojtyła was keenly aware of the forms of materialism which formed the environment of his own life and work. He offers not only his own analyses but also provides a model for engaging with the contemporary culture.
     Veritatis Splendor is a timeless examination of human, personal acts that challenges the post-modern conception of morality, love, and freedom. Reimers reorients this presentation for contemporary readers and invites readers who may have missed this foundational treatment to incorporate it into the questions and issues of our own times.

    In 1859 a Hungarian obstetrician named Ignaz Semmelweis, reflecting on his years as resident in the Vienna maternity clinic, wrote a graphic account of his attempt to diagnose and eliminate the then epidemic scourge of childbed fever.  The resulting Etiology triggered an immediate and international squall of protest from Semmelweis’s colleagues; today it is recognized as a pioneering classic of medical history.  Now, for the first time in many years, Codell Carter makes that classic available to the English-speaking reader in this vivid translation of the 1861 original, augmented by footnotes and an explanatory introduction.  For students and scholars of medical history and philosophy, obstetrics and women’s studies, the accessibility of this moving and revolutionary work, important both as an historical document and as a groundbreaking precursor of modern medical theory, is long overdue.
    Semmelweis’s exposure to the childbed fever was concurrent with his appointment to the Vienna maternity hospital in 1846.  Like many similar hospitals and clinics in the major cities of nineteenth-century Europe and America, where death rates from the illness sometimes climbed as high as 40 percent of admitted patients, the Viennese wards were ravaged by the fever.  Intensely troubled by the tragic and baffling loss of so many young mothers, Semmelweis sought answers.  The Etiology was testimony to his success.  Based on overwhelming personal evidence, it constituted a classic description of a disease, its causes, and its prevention.  It also allowed a necessary response to the obstetrician’s already vocal, rabid, and perhaps predictable critics.  For Semmelweis’s central thesis was a startling one - the fever, he correctly surmised, was caused not by epidemic or endemic influences but by unsterilized and thus often contaminated hands of the attending physicians themselves.
    Carter’s translation of this radical work, judiciously abridged and extensively footnoted, captures all the drama and impassioned conviction of the original.  Complementing this translation is a lucid introduction that places Semmelweis’s Etiology in historical perspective and clarifies its contemporary value.  That value, Carter argues, is considerable.  Important as a model of clinical analysis and as a chronicle of early nineteenth-century obstetrical practices, the Etiology is also a revolutionary polemic in its innovative doctrine of antisepsis and in its unique etiological explanation of disease.  As such its recognition and reclamation allows a crucial understanding, one that clarifies the roots and theory of modern medicine and ultimately redeems and important, resolute, pathfinder.

Since the 1950s, the death rate from heart attacks has plunged from 35 percent to about 5 percent—and fatalistic attitudes toward this disease and many others have faded into history. Much of the improved survival and change in attitudes can be traced to the work of Eugene Braunwald, MD. In the 1960s, he proved that myocardial infarction was not a “bolt from the blue” but a dynamic process that plays out over hours and thus could be altered by treatment. By redirecting cardiology from passive, risk-averse observation to active intervention, he helped transform not just his own field but the culture of American medicine.

Braunwald’s personal story demonstrates how the forces of history affected the generation of researchers responsible for so many medical advances in the second half of the twentieth century. In 1938 Nazi occupiers forced his family to flee Vienna for Brooklyn. Because of Jewish quotas in medical schools, he was the last person admitted to his class, but went on to graduate number one. When the Doctor Draft threatened to interrupt his medical training during the Korean War, he joined the National Institutes of Health instead of the Navy, and there he began the research that made him the most influential cardiologist of his time.

In Eugene Braunwald and the Rise of Modern Medicine, Thomas H. Lee offers insights that only authoritative firsthand interviews can provide, to bring us closer to this iconic figure in modern medicine.

Kristine L. Haglund views England’s writing through the tensions produced by his often-opposed intellectual and spiritual commitments. Though labeled a liberal, England had a traditional Latter-day Saint background and always sought to address fundamental questions in Mormon terms. His intellectually adventurous essays sometimes put him at odds with Church authorities and fellow believers. But he also influenced a generation of thinkers and cofounded Dialogue, a Mormon academic and literary journal acclaimed for the broad range of its thought.

A fascinating portrait of a Mormon intellectual and his times, Eugene England reveals a believing scholar who emerged from the lived experiences of his faith to engage with the changes roiling Mormonism in the twentieth century.

In the face of seemingly relentless American optimism, Eugene O’Neill's plays reveal an America many would like to ignore, a place of seething resentments, aching desires, and family tragedy, where failure and disappointment are the norm and the American dream a chimera. Though derided by critics during his lifetime, his works resonated with audiences, won him the Nobel Prize and four Pulitzer, and continue to grip theatergoers today. Now noted historian John Patrick Diggins offers a masterly biography that both traces O’Neill’s tumultuous life and explains the forceful ideas that form the heart of his unflinching works.

Diggins paints a richly detailed portrait of the playwright’s life, from his Irish roots and his early years at sea to his relationships with his troubled mother and brother. Here we see O’Neill as a young Greenwich Village radical, a ravenous autodidact who attempted to understand the disjunction between the sunny public face of American life and the rage that he knew was simmering beneath. According to Diggins, O’Neill mined this disjunction like no other American writer. His characters burn with longing for an idealized future composed of equal parts material success and individual freedom, but repeatedly they fall back to earth, pulled by the tendrils of family and the insatiability of desire. Drawing on thinkers from Emerson to Nietzsche, O’Neill viewed this endlessly frustrated desire as the problematic core of American democracy, simultaneously driving and undermining American ideals of progress, success, and individual freedom.

Melding a penetrating assessment of O’Neill’s works and thought with a sensitive re-creation of his life, Eugene O’Neill’s America offers a striking new view of America’s greatest playwright—and a new picture of American democracy itself.

Eugene Debs (1855-1926) is regarded by many as American history's premier labor advocate. He was the leader of the Socialist party, five-time Socialist candidate for president, outspoken on the rights of all workers, and a persistent defender of America's democratic traditions. 

Nick Salvatore's acclaimed biography offers a major reevaluation of Debs, the movements he launched, and his belief in American Socialism as an extension of the nation's democratic traditions. He also shows the relationship between Debs's public image and his private life as child, sibling, husband, and lover. Salvatore's Debs--weaknesses intact--emerges as a complex man, frustrated and angered by the glaring inequities of a new economic order, and willing to risk his freedom to preserve the essence of democratic society.

Winner, Robert Motherwell Book Award, Outstanding Book on Modernism in the Arts, The Dedalus Foundation, 2019

As Latin American elites strove to modernize their cities at the turn of the twentieth century, they eagerly adopted the eugenic theory that improvements to the physical environment would lead to improvements in the human race. Based on Jean-Baptiste Lamarck’s theory of the “inheritance of acquired characteristics,” this strain of eugenics empowered a utopian project that made race, gender, class, and the built environment the critical instruments of modernity and progress.

Through a transnational and interdisciplinary lens, Eugenics in the Garden reveals how eugenics, fueled by a fear of social degeneration in France, spread from the realms of medical science to architecture and urban planning, becoming a critical instrument in the crafting of modernity in the new Latin world. Journeying back and forth between France, Brazil, and Argentina, Fabiola López-Durán uncovers the complicity of physicians and architects on both sides of the Atlantic, who participated in a global strategy of social engineering, legitimized by the authority of science. In doing so, she reveals the ideological trajectory of one of the most celebrated architects of the twentieth century, Le Corbusier, who deployed architecture in what he saw as the perfecting and whitening of man. The first in-depth interrogation of eugenics’ influence on the construction of the modern built environment, Eugenics in the Garden convincingly demonstrates that race was the main tool in the geopolitics of space, and that racism was, and remains, an ideology of progress.

The architects of the Soviet Union intended not merely to remake their society—they also had an ambitious plan to remake the citizenry physically, with the goal of perfecting the socialist ideal of man. As Euphoria and Exhaustionshows, the Soviet leadership used sport as one of the primary arenas in which to deploy and test their efforts to mechanize and perfect the human body, drawing on knowledge from physiology, biology, medicine, and hygiene. At the same time, however, such efforts, like any form of social control, could easily lead to discontent—and thus, the editors show, a study of changes in public attitude towards sport can offer insight into overall levels of integration, dissatisfaction, and social exhaustion in the Soviet Union.

A long-awaited corrective to the controversial idea of world literature, from a major voice in the field.

Katerina Clark charts interwar efforts by Soviet, European, and Asian leftist writers to create a Eurasian commons: a single cultural space that would overcome national, cultural, and linguistic differences in the name of an anticapitalist, anti-imperialist, and later antifascist aesthetic. At the heart of this story stands the literary arm of the Communist International, or Comintern, anchored in Moscow but reaching Baku, Beijing, London, and parts in between. Its mission attracted diverse networks of writers who hailed from Turkey, Iran, India, and China, as well as the Soviet Union and Europe. Between 1919 and 1943, they sought to establish a new world literature to rival the capitalist republic of Western letters.

Eurasia without Borders revises standard accounts of global twentieth-century literary movements. The Eurocentric discourse of world literature focuses on transatlantic interactions, largely omitting the international left and its Asian members. Meanwhile, postcolonial studies have overlooked the socialist-aligned world in favor of the clash between Western European imperialism and subaltern resistance. Clark provides the missing pieces, illuminating a distinctive literature that sought to fuse European and vernacular Asian traditions in the name of a post-imperialist culture.

Socialist literary internationalism was not without serious problems, and at times it succumbed to an orientalist aesthetic that rivaled any coming from Europe. Its history is marked by both promise and tragedy. With clear-eyed honesty, Clark traces the limits, compromises, and achievements of an ambitious cultural collaboration whose resonances in later movements can no longer be ignored.

This volume examines Russian discourses of regionalism as a source of identity construction practices for the country's political and intellectual establishment. The overall purpose of the monograph is to demonstrate that, contrary to some assumptions, the transition trajectory of post-Soviet Russia has not been towards a liberal democratic nation state that is set to emulate Western political and normative standards. Instead, its foreign policy discourses have been constructing Russia as a supranational community which transcends Russia's current legally established borders.

The study undertakes a systematic and comprehensive survey of Russian official (authorities) and semi-official (establishment affiliated think tanks) discourse for a period of seven years between 2007 and 2013. This exercise demonstrates how Russia is being constructed as a supranational entity through its discourses of cultural and economic regionalism. These discourses associate closely with the political project of Eurasian economic integration and the "Russian world" and "Russian civilization" doctrines. Both ideologies, the geoeconomic and culturalist, have gained prominence in the post-Crimean environment. The analysis tracks down how these identitary concepts crystallized in Russia's foreign policies discourses beginning from Vladimir Putin's second term in power.

In this book Cedric Whitman turns from the heroic poets of Greece to the world of Euripides, less than heroic but still archetypal in its adherence to myth. In a four-part essay he analyzes the three “romances,” Iphigenia in Tauris, Helen, and Ion, placing them in the poet’s work as a whole.

The keynote is myth, not as a collection of outmoded stories to be rejected or rationalized by the “philosopher of the stage,” but as a fulfilling pattern of personal redemption, never completed in the other extant plays. In this reading, the controversial gods of Euripides are seen as characters in a greater scheme, the myth, rather than as parodies of religion or objects of atheistical satire. The theme of purity, or spiritual wholeness, wrought into the poetic texture, appears as a recurrent symbol of what redemption means to the struggling protagonists. This is an elegant piece of criticism, both in its conception and in its style.

With McDonalds in Moscow and Disneyland in Paris and Tokyo, American popular culture is spreading around the globe. Regional, national, and ethnic cultures are being powerfully affected by competition from American values and American popular forms. This literate and lively study explores the spread of American culture into international cinema as reflected by the collision and partial merger of two important styles of filmmaking: the Hollywood style of stars, genres, and action, and the European art film style of ambiguity, authorial commentary, and borrowings from other arts.

Peter Lev departs from the traditional approach of national cinema histories and discusses some of the blends, overlaps, and hegemonies that are typical of the world film industry of recent years. In Part One, he gives a historical and theoretical overview of what he terms the "Euro-American art film," which is characterized by prominent use of the English language, a European art film director, cast and crew from at least two countries, and a stylistic mixing of European art film and American entertainment.

The second part of Lev’s study examines in detail five examples of the Euro-American art film: Contempt (1963), Blow-Up (1966), The Canterbury Tales (1972), Paris, Texas (1983), and The Last Emperor (1987). These case studies reveal that the European art film has had a strong influence on world cinema and that many Euro-American films are truly cultural blends rather than abject takeovers by Hollywood cinema.

Despite western Europe's traditional disdain for the United States' "adversarial legalism," the European Union is shifting toward a very similar approach to the law, according to Daniel Kelemen. Coining the term "eurolegalism" to describe the hybrid that is now developing in Europe, he shows how the political and organizational realities of the EU make this shift inevitable.

The model of regulatory law that had long predominated in western Europe was more informal and cooperative than its American counterpart. It relied less on lawyers, courts, and private enforcement, and more on opaque networks of bureaucrats and other interests that developed and implemented regulatory policies in concert. European regulators chose flexible, informal means of achieving their objectives, and counted on the courts to challenge their decisions only rarely. Regulation through litigation-central to the U.S. model-was largely absent in Europe.

But that changed with the advent of the European Union. Kelemen argues that the EU's fragmented institutional structure and the priority it has put on market integration have generated political incentives and functional pressures that have moved EU policymakers to enact detailed, transparent, judicially enforceable rules-often framed as "rights"-and back them with public enforcement litigation as well as enhanced opportunities for private litigation by individuals, interest groups, and firms.

Stalin's death on March 6, 1953, reopened the debate within the Eisenhower administration over whether or not the United States should propose and actively promote the reunification of Germany at a summit conference. Written by an insider, this is the only published firsthand account of this foreign policy decision—a decision that illuminated the dilemmas of the Cold War at an important moment.

W. W. Rostow examines the origins of Eisenhower's "peace speech" of April 16, 1953, and of the National Security Council's debate on the German question between John Foster Dulles and presidential adviser C. D. Jackson. Jackson proposed immediate high-level diplomatic contact with the Soviet Union and the countries of Western Europe to discuss German reunification, as well as proposals for the general control of armaments and special security arrangements for Europe. Dulles, however, argued for a more reserved posture, which ruled out summitry and immediate negotiation with the Soviets. Dulles prevailed, but Eisenhower made his famous "peace speech."

In his concluding chapter, Rostow explores the question of whether or not anything was lost by this outcome. Was an opportunity for a united Germany forfeited when Eisenhower rejected Churchill's suggestion for a prompt summit meeting and backed Dulles against Jackson in the National Security Council meeting of March 11?

This is the third in a series of volumes by the author that probe the relationship between ideas and action in the making of major policy decisions. In this series, Rostow examines historic decision making from an insider's point of view while exploiting fully the rich documentary evidence.

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.

The essays in Europe in Black and White offer new critical perspectives on race, immigration, and identity on the Old Continent. In reconsidering the various forms of encounters with difference, such as multiculturalism and hybridity, the contributors address a number of issues, including the cartography of postcolonial Europe, its relation to the production of "difference" and "race," and national and identity politics and their dependence on linguistic practices inherited from imperial times. Featuring scholars from a wide variety of nationalities and disciplinary areas, this collection will speak to an equally wide readership.