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Undead Ends is about how we imagine humanness and survival in the aftermath of disaster. This book frames modern British and American apocalypse films as sites of interpretive struggle. It asks what, exactly, is ending? Whose dreams of starting over take center stage, and why? And how do these films, sometimes in spite of themselves, make room to dream of new beginnings that don’t just reboot the world we know? Trimble argues that contemporary apocalypse films aren’t so much envisioning The End of the world as the end of a particular world; not The End of humanness but, rather, the end of Man. Through readings of The Road, I Am Legend, 28 Days Later, 28 Weeks Later, Children of Men, and Beasts of the Southern Wild, this book demonstrates that popular stories of apocalypse can trouble, rather than reproduce, Man’s story of humanness. With some creative re-reading, they can even unfold towards unexpected futures. Mainstream apocalypse films are, in short, an occasion to imagine a world After Man.

Unsettled History examines South African society and the construction and presentation of its public pasts, from Nelson Mandela’s release from prison in 1990 to South Africa’s hosting of the 2010 FIFA World Cup ®. Conventionally represented as a time of rectifying the silences and distortions of settler history through inclusion and recovery, the focus here instead is on the shifts in processes and locations of historicizing and the unsettled state of categories of framing history in post-apartheid South Africa. This era saw fundamental transformations in the order of knowledge: from the academy to the public; from popular history to public history; from history-as-lesson to history-as-forum.

Leslie Witz, Gary Minkley, and Ciraj Rassool take the reader to sites of historical production in which complex ideas about pasts are invoked, and navigate a path toward understanding the agencies of image-making and memory production. This volume is the outcome of the authors’ intensive collaborative research and engagement over twenty-five years on questions including the production and performance of apartheid history; the cultural politics of social history; South Africa’s Truth and Reconciliation Commission and practices of orality; tourism as an arena of image-making and historical construction; museums as sites of heritage production for a new South Africa; photographs, archival meanings, and the construction of the social documentary; and the centenary commemorations of the South African War and the making of race. The authors not only witnessed many of these instances of history-making but were also participants in their constitution.

 

Unwelcome Shores is an ethnographic study of the Liberian refugee community in Staten Island, New York, home to the largest per capita concentration of Liberians in the U.S., that sheds light on the racialization of Black refugees and the racism they have experienced at every step of their migration journey. In this pioneering study, sociologist Bernadette Ludwig explores how Liberians have responded to such racist exclusions, noting how members of this community reject the informal refugee label once they are resettled in the United States. Liberian migrants often view the label as a liability since the larger general public, the media, and the U.S. government tend to regard Black refugees as an economic and social burden unworthy of assistance. Indeed, Black refugees’ humanity is often ignored, Ludwig contends, in favor of overemphasizing presumed barbaric violence, endemic wars, cultural backwardness, and diseases. By detailing the lack of aid and support for Black refugees and describing how Liberian refugees in particular have had to overcome various struggles and barriers in coming to the U.S. and while living here, Unwelcome Shores highlights the overarching role of race and anti-Black racism in American society.