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Palestinian cinema arose during the political cinema movements of the late 1960s and early 1970s, yet it was unique as an institutionalized, though modest, film effort within the national liberation campaign of a stateless people. Filmmakers working within the Palestinian Liberation Organization (PLO) and through other channels filmed the revolution as it unfolded, including the Israeli bombings of Palestinian refugee camps, the Jordanian and Lebanese civil wars, and Palestinian life under Israeli occupation, attempting to create a cinematic language consonant with the revolution and its needs. They experimented with form both to make effective use of limited material and to process violent events and loss as a means of sustaining active engagement in the Palestinian political project.

Palestinian Cinema in the Days of Revolution presents an in-depth study of films made between 1968 and 1982, the filmmakers and their practices, the political and cultural contexts in which the films were created and seen, and their afterlives among Palestinian refugees and young filmmakers in the twenty-first century. Nadia Yaqub discusses how early Palestinian cinema operated within emerging public-sector cinema industries in the Arab world, as well as through coproductions and solidarity networks. Her findings aid in understanding the development of alternative cinema in the Arab world. Yaqub also demonstrates that Palestinian filmmaking, as a cinema movement created and sustained under conditions of extraordinary precarity, offers important lessons on the nature and possibilities of political filmmaking more generally.

As frequent intermediaries between Israeli military authorities and Palestinian citizens, Palestinian lawyers stand close to the fault line dividing Israeli and Palestinian societies. The conflicts and tensions they experience in their profession mirror the larger conflicts between the two societies. Thus, as George Bisharat reveals in Palestinian Lawyers and Israeli Rule, a careful study of the work and lives of Palestinian lawyers ultimately helps to illuminate the causes of the intifada, or uprising, that began in December 1987.

The study revolves around the central question of why the Palestinian legal profession declined during twenty years of Israeli occupation when, in other Third World countries, the legal profession has often reached its peak during a period of Western colonization. Bisharat answers this question with a wide-ranging inquiry into the historical origins of the legal profession and court system in Palestine, the tenuous grounding of these institutions in Palestinian society and culture, and the structure, style, and policies of the late-twentieth-century Israeli military government in the West Bank.

For general readers interested in the Palestinian-Israeli conflict, as well as specialists in such fields as legal anthropology, sociology of the professions, Third World law and development, and Middle Eastern studies, Palestinian Lawyers and Israeli Rule will be required reading.

An exploration of how Palestinian music—from village songs to urban broadcasts—adapted to political upheaval, colonial pressure, and diaspora life, serving as both a cultural anchor and a vehicle for regional identity during the mid-twentieth century.

Palestinian music has long been embedded in everyday life, shaping and reflecting social, cultural, and political identities. It has served as a means of storytelling and news-sharing, a part of ritual and community life, and a connection to the broader musical traditions of the Near East. As displacement scattered Palestinians across Lebanon, Syria, Jordan, and beyond, musicians carried folk and urban musical traditions into new political and cultural contexts, blending them with various modernities and transforming the process of music-making. In the decades that followed, music and dance were increasingly folklorized and mobilized as symbols of Palestinian identity.

Palestinian Music traces these transformations from the British Mandate through the rise of the Palestine Liberation Organization in the 1970s. Drawing on rare recordings, oral histories, archival materials, and original musical transcriptions, ethnomusicologist Issa Boulos examines two dozen artists across five countries and follows the composers, producers, and performers whose innovations helped shape the musical scene of the entire region. Palestinian music emerges as a dynamic medium through which Palestinians continually negotiated identity, solidarity, and hope—balancing preservation and innovation, rootedness and displacement.

Members of Palestine’s Muslim community have long honored al-Nabi Musa, or the Prophet Moses. Since the thirteenth century, they have celebrated at a shrine near Jericho believed to be the location of Moses’s tomb; in the mid-nineteenth century, they organized a civic festival in Jerusalem to honor this prophet. Considered one of the most important occasions for Muslim pilgrims in Palestine, the Prophet Moses festival yearly attracted thousands of people who assembled to pray, conduct mystical forms of worship, and hold folk celebrations.

Palestinian Rituals of Identity takes an innovative approach to the study of Palestine’s modern history by focusing on the Prophet Moses festival from the late Ottoman period through the era of British rule. Halabi explores how the festival served as an arena of competing discourses, with various social groups attempting to control its symbols. Tackling questions about modernity, colonialism, gender relations, and identity, Halabi recounts how peasants, Bedouins, rural women, and Sufis sought to influence the festival even as Ottoman authorities, British colonists, Muslim clerics, and Palestinian national leaders did the same. Drawing on extensive research in Arabic newspapers and Islamic and colonial archives, Halabi reveals how the festival has encapsulated Palestinians’ responses to modernity, colonialism, and the nation’s growing national identity.

In the decade following the 1993 Oslo Peace Accords, some 100,000 diasporic Palestinians returned to the West Bank and Gaza. Among them were children and young adults who were born in exile and whose sense of Palestinian identity was shaped not by lived experience but rather through the transmission and re-creation of memories, images, and history. As a result, "returning" to the homeland that had never actually been their home presented challenges and disappointments for these young Palestinians, who found their lifeways and values sometimes at odds with those of their new neighbors in the West Bank and Gaza.

This original ethnography records the experiences of Palestinians born in exile who have emigrated to the Palestinian homeland. Juliane Hammer interviews young adults between the ages of 16 and 35 to learn how their Palestinian identity has been affected by living in various Arab countries or the United States and then moving to the West Bank and Gaza. Their responses underscore how much the experience of living outside of Palestine has become integral to the Palestinian national character, even as Palestinians maintain an overwhelming sense of belonging to one another as a people.

The Panama Canal Treaties of 1977 were the most significant foreign policy achievement of the Carter administration. Most Latin American nations had regarded the 1903 treaty and its later minor modifications as vestiges of "American colonialism" and obstacles to any long-term, stable relationship with the United States. Hence, at a time when conflicts were mushrooming in Central America, the significance of the new Panama treaties cannot be overestimated.

Former Ambassador to Panama William J. Jorden has provided the definitive account of the long and often contentious negotiations that produced those treaties. It is a vividly written reconstruction of the complicated process that began in 1964 and ended with ratification of the new pacts in 1978. Based on his personal involvement behind the scenes in the White House (1972–1974) and in the United States Embassy in Panama (1974–1978), Jorden has produced a unique living history. Access to documents and the personalities of both governments and, equally important, Jorden's personal recollections of participants on both sides make this historical study an incomparable document of U. S. foreign relations.

Beyond the singular story of the treaties themselves—and how diplomats negotiate in the modern world—is the rare description of how the United States deals with a major foreign policy problem. How does a superpower cope with a tiny nation that happens to occupy a strategically critical position? And how does the U. S. Senate face up to its constitutionally assigned power to "advise and consent"? Once treaties are approved, does the House of Representatives help or hinder? Panama Odyssey also deals with another crucial element in the shaping of policy—public opinion: how is it informed or led astray?

In sum, this is a history, a handbook on diplomacy, a course in government, and a revelation of foreign policy in action, all based on a fascinating and controversial episode in the U. S. experience.

Understanding paras as key players in Black and Latino struggles for jobs and freedom, Nick Juravich details how the first generation of paras in New York City transformed work in public schools and the relationships between schools and the communities they served. Paraprofessional programs created hundreds of thousands of jobs in working-class Black and Latino neighborhoods. These programs became an important pipeline for the training of Black and Latino teachers in the1970s and early 1980s while paras’ organizing helped drive the expansion and integration of public sector unions.

An engaging portrait of an invisible profession, Para Power examines the lives and practices of the first generation of paraprofessional educators against the backdrop of struggles for justice, equality, and self-determination.

Tracing paranoia as a defining pattern of modern American literature. 

The recent popularity of The DaVinci Code and The Matrix trilogy exemplifies the fascination Americans have with conspiracy-driven subjects. Though scholars have suggested that in modern times the JFK assassination initiated an industry of conspiracy (i.e., Vietnam and the Pentagon Papers, Area 51, Iran-Contra Affair), Samuel Chase Coale reminds us in this book that conspiracy is foundational in American culture—from the apocalyptic Biblical narratives in early Calvinist households to the fear of Mormon, Catholic, Jewish, and immigrant populations in the 19th century. 

Coale argues that contemporary culture—a landscape characterized by doubt, ambiguity, fragmentation, information overload, and mistrust—has fostered a radical skepticism so pervasive that the tendency to envision or construct conspiracies often provides the best explanation for the chaos that surrounds us.

Conspiracy as embodied in narrative form provides a fertile field for explorations of the anxiety lying at the heart of the postmodern experience. Thomas Pynchon's The Crying of Lot 49, Don DeLillo's Underworld, Toni Morrison's Jazz and Paradise, Joan Didion's Democracy, Tim O'Brien's In the Lake of the Woods, and Paul Auster's New York City Trilogy are some of the texts Coale examines for their representations of isolated individuals at the center of massive, anonymous master plots that lay beyond their control. These narratives remind us that our historical sense of national identity has often been based on the demonizing of others and that American fiction arose and still flourishes with apocalyptic visions.