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In the mid-2010s, a passionate community of Los Angeles-based storytellers, media artists, and tech innovators formed around virtual reality (VR), believing that it could remedy society’s ills. Lisa Messeri offers an ethnographic exploration of this community, which conceptualized VR as an “empathy machine” that could provide glimpses into diverse social realities. She outlines how, in the aftermath of #MeToo, the backlash against Silicon Valley, and the turmoil of the Trump administration, it was imagined that VR—if led by women and other marginalized voices—could bring about a better world. Messeri delves into the fantasies that allowed this vision to flourish, exposing the paradox of attempting to use a singular VR experience to mend a fractured reality full of multiple, conflicting social truths. She theorizes this dynamic as unreal, noting how dreams of empathy collide with reality’s irreducibility to a “common” good. With In the Land of the Unreal, Messeri navigates the intersection of place, technology, and social change to show that technology alone cannot upend systemic forces attached to gender and race.

Bringing to light an often-ignored aspect of Hollywood studio system history, this book focuses on female stars who broke the mold of a male-dominated, often manipulative industry to dictate the path of their own careers through freelancing.

Runner-up, Richard Wall Memorial Award, Theatre Library Association, 2016

During the heyday of Hollywood’s studio system, stars were carefully cultivated and promoted, but at the price of their independence. This familiar narrative of Hollywood stardom receives a long-overdue shakeup in Emily Carman’s new book. Far from passive victims of coercive seven-year contracts, a number of classic Hollywood’s best-known actresses worked on a freelance basis within the restrictive studio system. In leveraging their stardom to play an active role in shaping their careers, female stars including Irene Dunne, Janet Gaynor, Miriam Hopkins, Carole Lombard, and Barbara Stanwyck challenged Hollywood’s patriarchal structure.

Through extensive, original archival research, Independent Stardom uncovers this hidden history of women’s labor and celebrity in studio-era Hollywood. Carman weaves a compelling narrative that reveals the risks these women took in deciding to work autonomously. Additionally, she looks at actresses of color, such as Anna May Wong and Lupe Vélez, whose careers suffered from the enforced independence that resulted from being denied long-term studio contracts. Tracing the freelance phenomenon among American motion picture talent in the 1930s, Independent Stardom rethinks standard histories of Hollywood to recognize female stars as creative artists, sophisticated businesswomen, and active players in the then (as now) male-dominated film industry.

Long before the COVID-19 crisis, Mexican Indigenous peoples were faced with organizing their lives from afar, between villages in the Oaxacan Sierra Norte and the urban districts of Los Angeles, as a result of unauthorized migration and the restrictive border between Mexico and the United States. By launching cutting-edge Internet radio stations and multimedia platforms and engaging as community influencers, Zapotec and Ayuujk peoples paved their own paths to a transnational lifeway during the Trump era. This meant adapting digital technology to their needs, setting up their own infrastructure, and designing new digital formats for re-organizing community life in all its facets—including illness, death and mourning, collective celebrations, sport tournaments, and political meetings—across vast distances. Author Ingrid Kummels shows how mediamakers and users in the Sierra Norte villages and in Los Angeles created a transborder media space and aligned time regimes. By networking from multiple places, they put into practice a communal way of life called Comunalidad and an indigenized American Dream—in real time.
 

Indigenous Archives analyzes the modes through which young Guatemalan Mayas in Los Angeles and Guatemala make sense of and respond to transnational structures of settler colonialism. Drawing on in-depth analysis of cultural production and interviews with Guatemalan Maya youth and young adults, Floridalma Boj Lopez examines how Mayas in diaspora craft and circulate narratives about their experiences across borders. Citing a more active practice of “archives in formation,” Boj Lopez depicts Indigenous archives as a cross-generational, collective conversation rooted in memory, survival, and cultural expression where Indigenous cultural practices and artifacts move, adapt, and assert their presence in the contemporary. Indigenous Archives invites readers to consider Indigeneity as a process, lived experience, and historical perspective, rather than as a static identity, and shows how extending analysis across borders is critical to understanding Latinidad and Indigeneity.

A powerful visual journey through twentieth-century Mexico, this bilingual volume showcases the iconic photography and creative community that shaped a national visual identity.

Presenting nearly 150 pictures made between 1920 and 2017, Instante/revelación highlights the work of thirteen renowned photographers who feature prominently in the history of the medium in Mexico, including Lola and Manuel Álvarez Bravo, Graciela Iturbide, and Pablo Ortiz Monasterio.

Through a dynamic selection of images, the publication explores some of the intertwined sociocultural forces that shape life and art in Mexico. Among the photographs are stunning presentations of landscapes, architecture, and flora and fauna from across the country; depictions of daily life; and portraits of esteemed Mexican artists and writers such as Diego Rivera, Frida Kahlo, and Octavio Paz. An illustrated essay examines the significant role photobooks and periodicals played in disseminating these images.

The photographers featured in this volume are linked by friendship, influence, and collaboration. Their works, when viewed together as a collective narrative, reveal the spirit of fruitful exchange that characterizes this exciting chapter in Mexico's photographic history.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 1, 2026, to January 3, 2027.