How does a totalitarian government influence the arts, and how do the arts respond? Spanish Film Under Franco raises these important questions, giving English speakers a starting point in their study of Spanish cinema.

After a brief overview of Spanish film before Franco, the author proceeds to a discussion of censorship as practiced by the Franco regime. The response of directors to censorship—the “franquista aesthetic,” or “aesthetic of repression,” with its highly metaphorical, oblique style—is explored in the works of Luis Buñuel, Carlos Saura, Juan Antonio Bardem, Luis García Berlanga, and other important directors.

Virginia Higginbotham combines historical perspective with detailed critical analysis and interpretation of many famous Franco-era films. She shows how directors managed to evade the censors and raise public awareness of issues relating to the Spanish Civil War and the repressions of the Franco regime.

Film has always performed an educational function in Spain, reaching masses of poor and uneducated citizens. And sometimes, as this study also reveals, Spanish film has been ignored when the questions it raised became too painful or demanding.

The author concludes with a look at post-Franco cinema and the directions it has taken. For anyone interested in modern Spanish film, this book will be essential reading.

A look at the violent “Red Summer of 1919” and its intersection with the highly politicized New Negro movement and the Harlem Renaissance

With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In Spectres of 1919 Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved.

Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible from which the radicalism of the 1920s emerged. Foley draws from a wealth of primary sources, taking a bold new approach to the origins of African American radicalism and adding nuance and complexity to the understanding of a fascinating and vibrant era.

The story of Texas’s impact on American sports culture during the civil rights and second-wave feminist movements, this book offers a new understanding of sports and society in the state and the nation as a whole.

In the 1960s and 1970s, America experienced a sports revolution. New professional sports franchises and leagues were established, new stadiums were built, football and basketball grew in popularity, and the proliferation of television enabled people across the country to support their favorite teams and athletes from the comfort of their homes. At the same time, the civil rights and feminist movements were reshaping the nation, broadening the boundaries of social and political participation. The Sports Revolution tells how these forces came together in the Lone Star State.

Tracing events from the end of Jim Crow to the 1980s, Frank Guridy chronicles the unlikely alliances that integrated professional and collegiate sports and launched women’s tennis. He explores the new forms of inclusion and exclusion that emerged during the era, including the role the Dallas Cowboys Cheerleaders played in defining womanhood in the age of second-wave feminism. Guridy explains how the sexual revolution, desegregation, and changing demographics played out both on and off the field as he recounts how the Washington Senators became the Texas Rangers and how Mexican American fans and their support for the Spurs fostered a revival of professional basketball in San Antonio. Guridy argues that the catalysts for these changes were undone by the same forces of commercialization that set them in motion and reveals that, for better and for worse, Texas was at the center of America’s expanding political, economic, and emotional investments in sport.

Staging Race casts a spotlight on the generation of black artists who came of age between 1890 and World War I in an era of Jim Crow segregation and heightened racial tensions. As public entertainment expanded through vaudeville, minstrel shows, and world's fairs, black performers, like the stage duo of Bert Williams and George Walker, used the conventions of blackface to appear in front of, and appeal to, white audiences. At the same time, they communicated a leitmotif of black cultural humor and political comment to the black audiences segregated in balcony seats. With ingenuity and innovation, they enacted racial stereotypes onstage while hoping to unmask the fictions that upheld them offstage.

Drawing extensively on black newspapers and commentary of the period, Karen Sotiropoulos shows how black performers and composers participated in a politically charged debate about the role of the expressive arts in the struggle for equality. Despite the racial violence, disenfranchisement, and the segregation of virtually all public space, they used America's new businesses of popular entertainment as vehicles for their own creativity and as spheres for political engagement.

The story of how African Americans entered the stage door and transformed popular culture is a largely untold story. Although ultimately unable to erase racist stereotypes, these pioneering artists brought black music and dance into America's mainstream and helped to spur racial advancement.

This book assesses the changing nature of state intervention in the economies of the affluent democracies. Against a widespread understanding that contemporary developments, such as globalization and new technologies, are pressing for a rollback of state regulation in the economy, the book shows that these same forces are also creating new demands and opportunities for state intervention. Thus, state activism has shifted, rather than simply eroded.

State authorities have shifted from a market-steering orientation to a market-supporting one. Chief among the new state missions are: repairing the main varieties of capitalism (liberal, corporatist, and statist); making labor markets and systems of social protection more employment-friendly; recasting regulatory frameworks to permit countries to cross major economic and technological divides; and expanding market competition at home and abroad.

Because the changes from market steering to market support are so controversial and far-reaching, state officials often find themselves making choices that produce clear winners and losers. Such choices require a capacity to act unilaterally and decisively, even in the face of substantial societal opposition. As a result, state activism, autonomy, and occasionally imposition remain essential for meeting the challenges of today's globalizing economy.

How should Western democracies respond to the many millions of people who want to settle in their societies? Economists and human rights advocates tend to downplay the considerable cultural and demographic impact of immigration on host societies. Seeking to balance the rights of immigrants with the legitimate concerns of citizens, Strangers in Our Midst brings a bracing dose of realism to this debate. David Miller defends the right of democratic states to control their borders and decide upon the future size, shape, and cultural make-up of their populations.

“A cool dissection of some of the main moral issues surrounding immigration and worth reading for its introductory chapter alone. Moreover, unlike many progressive intellectuals, Miller gives due weight to the rights and preferences of existing citizens and does not believe an immigrant has an automatic right to enter a country…Full of balanced judgments and tragic dilemmas.”
—David Goodhart, Evening Standard

“A lean and judicious defense of national interest…In Miller’s view, controlling immigration is one way for a country to control its public expenditures, and such control is essential to democracy.”
—Kelefa Sanneh, New Yorker

Many consumers feel powerless in the face of big industry’s interests. And the dominant view of economic regulators (influenced by Mancur Olson’s book The Logic of Collective Action, published in 1965) agrees with them. According to this view, diffuse interests like those of consumers are too difficult to organize and too weak to influence public policy, which is determined by the concentrated interests of industrial-strength players. Gunnar Trumbull makes the case that this view represents a misreading of both the historical record and the core logic of interest representation. Weak interests, he reveals, quite often emerge the victors in policy battles.

Based on a cross-national set of empirical case studies focused on the consumer, retail, credit, pharmaceutical, and agricultural sectors, Strength in Numbers develops an alternative model of interest representation. The central challenge in influencing public policy, Trumbull argues, is not organization but legitimation. How do diffuse consumer groups convince legislators that their aims are more legitimate than industry’s? By forging unlikely alliances among the main actors in the process: activists, industry, and regulators. Trumbull explains how these “legitimacy coalitions” form around narratives that tie their agenda to a broader public interest, such as expanded access to goods or protection against harm. Successful legitimizing tactics explain why industry has been less powerful than is commonly thought in shaping agricultural policy in Europe and pharmaceutical policy in the United States. In both instances, weak interests carried the day.

As the Mississippi and other midwestern rivers inundated town after town during the summer of 1993, concerned and angry citizens questioned whether the very technologies and structures intended to "tame" the rivers did not, in fact, increase the severity of the floods. Much of the controversy swirled around the apparent culpability of the U.S. Army Corps of Engineers, the builder of many of the flood control systems that failed.

In this book, Todd Shallat examines the turbulent first century of the dam and canal building Corps and follows the agency's rise from European antecedents through the boom years of river development after the American Civil War. Combining extensive research with a lively style, Shallat tells the story of monumental construction and engineering fiascoes, public service and public corruption, and the rise of science and the army expert as agents of the state.

More than an institutional history, Structures in the Stream offers significant insights into American society, which has alternately supported the public works projects that are a legacy of our French heritage and opposed them based on the democratic, individualist tradition inherited from Britain. It will be important reading for a wide audience in environmental, military, and scientific history, policy studies, and American cultural history.

Winner of the Louis Gottschalk Prize, American Society for Eighteenth-Century Studies
A Financial Times Best History Book of the Year
A Choice Outstanding Academic Title of the Year

Rebecca L. Spang, who revolutionized our understanding of the restaurant, has written a new history of money. It uses one of the most infamous examples of monetary innovation, the assignats—a currency initially defined by French revolutionaries as “circulating land”—to demonstrate that money is as much a social and political mediator as it is an economic instrument. Following the assignats from creation to abandonment, Spang shows them to be subject to the same slippages between policies and practice, intentions and outcomes, as other human inventions.

“This is a quite brilliant, assertive book.”
—Patrice Higonnet, Times Literary Supplement

“Brilliant…What [Spang] proposes is nothing less than a new conceptualization of the revolution…She has provided historians—and not just those of France or the French Revolution—with a new set of lenses with which to view the past.”
—Arthur Goldhammer, Bookforum

“[Spang] views the French Revolution from rewardingly new angles by analyzing the cultural significance of money in the turbulent years of European war, domestic terror and inflation.”
—Tony Barber, Financial Times

“The Supreme Court follows the election returns,” the fictional Mr. Dooley observed a hundred years ago. And for all our ideals and dreams of a disinterested judiciary, above the political fray, it seems Mr. Dooley was right. In this engaging—and disturbing—book, a leading historian of the Court reveals the close fit between its decisions and the nation’s politics.

The story begins with the creation of the Constitution and ends with the June 2008 decisions on the rights of detainees at Guantánamo Bay. Rendering crisp (and often controversial) judgments on key decisions from Marbury v. Madison to the War on Terror, Lucas Powe shows how virtually every major Supreme Court ruling, however deftly framed in constitutional terms, suited the wishes of the most powerful politicians of the time. This history reflects a changing Court, from the country’s early struggles over commerce and transportation to the torturous justifications of slavery before the Civil War, to a post–New Deal interest in ending segregation, controlling criminal procedure, and addressing knotty questions arising from the Cold War. Through all of this the Court emerges as part of a ruling regime, doing its best to implement the regime’s policies.

Drawing on more than four decades of thinking about the Supreme Court and its role in the American political system, this book offers a new, clear, and troubling perspective on American jurisprudence, politics, and history.

A data-rich examination of the US Supreme Court's unprecedented detachment from the democratic processes that buttress its legitimacy.

Today’s Supreme Court is unlike any other in American history. This is not just because of its jurisprudence but also because the current Court has a tenuous relationship with the democratic processes that help establish its authority. Historically, this “democracy gap” was not nearly as severe as it is today. Simply put, past Supreme Courts were constructed in a fashion far more in line with the promise of democracy—that the people decide and the majority rules.

Drawing on historical and contemporary data alongside a deep knowledge of court battles during presidencies ranging from FDR to Donald Trump, Kevin J. McMahon charts the developments that brought us here. McMahon offers insight into the altered politics of nominating and confirming justices, the shifting pool of Supreme Court hopefuls, and the increased salience of the Court in elections. A Supreme Court Unlike Any Other is an eye-opening account of today’s Court within the context of US history and the broader structure of contemporary politics.

To reclaim a sense of hope for the future, German activists in the late twentieth century engaged ordinary citizens in innovative projects that resisted alienation and disenfranchisement.

By most accounts, the twentieth century was not kind to utopian thought. The violence of two world wars, Cold War anxieties, and a widespread sense of crisis after the 1973 global oil shock appeared to doom dreams of a better world. The eventual victory of capitalism and, seemingly, liberal democracy relieved some fears but exchanged them for complacency and cynicism.

Not, however, in West Germany. Jennifer Allen showcases grassroots activism of the 1980s and 1990s that envisioned a radically different society based on community-centered politics—a society in which the democratization of culture and power ameliorated alienation and resisted the impotence of end-of-history narratives. Berlin’s History Workshop liberated research from university confines by providing opportunities for ordinary people to write and debate the story of the nation. The Green Party made the politics of direct democracy central to its program. Artists changed the way people viewed and acted in public spaces by installing objects in unexpected environments, including the Stolpersteine: paving stones, embedded in residential sidewalks, bearing the names of Nazi victims. These activists went beyond just trafficking in ideas. They forged new infrastructures, spaces, and behaviors that gave everyday people real agency in their communities. Undergirding this activism was the environmentalist concept of sustainability, which demanded that any alternative to existing society be both enduring and adaptable.

A rigorous but inspiring tale of hope in action, Sustainable Utopias makes the case that it is still worth believing in human creativity and the labor of citizenship.

Environmental issues, once the benign hobby of the few, have become everybody's urgent concern--progressing from the peaceful vibes of the first Earth Day to the political tumult of the "green possibility." As we surpass the end of the twentieth century and as these issues become more pressing, John Young's tour de force is an especially welcome and timely assessment of the history of the environmental movement--and a call to arms for a new and effective attack on the problems.

Young maintains that only a powerful synthesis of political, economic, and moral ideologies--a unification he terms postenvironmentalism--will move world societies into a relation to the environment that maintains the best democratic values. He describes many of the movements and strategies that have appeared over the last three decades: realos, reds, greens, left and right ecologists, eco-feminists, humanists, and pragmatists. Now even the most radical environmentalists must recognize the reality of questions about equity and poverty, technology and energy, aid and trade between wealthy and impoverished countries, and the validity of the ways people consider them. As the process of trial and error this book describes continues, Young offers--in a thoughtful and undogmatic manner--an alternative perspective that is essential reading for all who care about our world.

Can music be political? Germans have long claimed the symphony as a pillar of their modern national culture. By 1900, the critical discourse on music, particularly symphonies, rose to such prominence as to command front-page news. With the embrace of the Great War, the humiliation of defeat, and the ensuing economic turmoil, music evolved from the most abstract to the most political of the arts. Even Goebbels saw the symphony as a tool of propaganda. More than composers or musicians, critics were responsible for this politicization of music, aspiring to change how music was heard and understood. Once hailed as a source of individual heroism, the symphony came to serve a communal vision.

Karen Painter examines the politicization of musical listening in Germany and Austria, showing how nationalism, anti-Semitism, liberalism, and socialism profoundly affected the experience of serious music. Her analysis draws on a vast collection of writings on the symphony, particularly those of Mahler and Bruckner, to offer compelling evidence that music can and did serve ideological ends. She traces changes in critical discourse that reflected but also contributed to the historical conditions of the fin de siècle, World War I, and the Nazi regime.

How artists challenged a military dictatorship through mass print technologies in 1970s and 1980s São Paulo.

Throughout the 1970s and into the 1980s, during Brazil's military dictatorship, artists shifted their practices to critique the government and its sanitized images of Brazil, its use of torture, and its targeted persecutions. Mari Rodríguez Binnie's The São Paulo Neo-Avant-Garde examines these artworks and their engagement with politics and mainstream art institutions and practices.

As Binnie skillfully shows, artists appropriated processes like photocopy, offset lithography, and thermal and heliographic printing, making newly available technologies of mass production foundational to their work of resistance against both the dictatorship and the established art world. Often working collaboratively, these artists established alternative networks of exchange locally and internationally to circulate their work. As democracy was reestablished in Brazil, and in the decades that followed, their works largely fell out of sight. Here, in the first English-language book to focus entirely on conceptual practices in São Paulo in the 1970s and 1980s, Binnie unearths a scene critical to the development of contemporary Brazilian Art.