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In Before the Flood Jacob Blanc traces the protest movements of rural Brazilians living in the shadow of the Itaipu dam—the largest producer of hydroelectric power in the world. In the 1970s and 1980s, local communities facing displacement took a stand against the military officials overseeing the dam's construction, and in the context of an emerging national fight for democracy, they elevated their struggle for land into a referendum on the dictatorship itself. Unlike the broader campaign against military rule, however, the conflict at Itaipu was premised on issues that long predated the official start of dictatorship: access to land, the defense of rural and indigenous livelihoods, and political rights in the countryside. In their efforts against Itaipu and through conflicts among themselves, title-owning farmers, landless peasants, and the Avá-Guarani Indians articulated a rural-based vision for democracy. Through interviews and archival research—including declassified military documents and the first-ever access to the Itaipu Binational Corporation—Before the Flood challenges the primacy of urban-focused narratives and unearths the rural experiences of dictatorship and democracy in Brazil.

An anthropological study of Haitian migrant women in the Dominican Republic.

Borders of Visibility offers extremely timely insight into the Dominican Republic’s racist treatment of Haitian descendants within its borders. Jennifer L. Shoaff employs multisited feminist research to focus on the geographies of power that intersect to inform the opportunities and constraints that migrant women must navigate to labor and live within a context that largely denies their human rights, access to citizenship, and a sense of security and belonging.

Paradoxically, these women are both hypervisible because of the blackness that they embody and invisible because they are marginalized by intersecting power inequalities. Haitian women must contend with diffuse legal, bureaucratic and discursive state-local practices across “border” sites that situate them as a specific kind of threat that must be contained. Shoaff examines this dialectic of mobility and containment across various sites in the northwest Dominican Republic, including the official border crossing, transborder and regional used-clothing markets, migrant settlements (bateyes), and other rural-urban contexts.

Shoaff combines ethnographic interviews, participant observation, institutional analyses of state structures and nongovernmental agencies, and archival documentation to bring this human rights issue to the fore. Although primarily grounded in critical ethnographic practice, this work contributes to the larger fields of transnational feminism, black studies, migration and border studies, political economy, and cultural geography. Borders of Visibility brings much needed attention to Haitian migrant women’s economic ingenuity and entrepreneurial savvy, their ability to survive and thrive, their often impossible choices whether to move or to stay, returning them to a place of visibility, while exposing the very structures that continue to render them invisible and, thus, expendable over time.

Forms of Blackness examines how race can be approached as a form shaped and perceived through visual and aesthetic practices. Cécile Bishop offers a new way of thinking about the politics of visibility and presses readers to question how to interpret what they see.

Considering race as form across literature, theory, painting, and photography, Cécile Bishop’s Forms of Blackness explores the formal devices that make blackness both visible and recognizable. In keeping with black Francophone theorists like Édouard Glissant and Frantz Fanon, Bishop uses the ambiguities these aesthetic forms carry to explore a range of identity concepts like opacity, formlessness, and doubleness. Bishop puts blackness-as-race and blackness-as-form in dialogue, showing how race disrupts the concept of artistic autonomy and how the aesthetic challenges race as a self-evident visual phenomenon. When thought together, form does not isolate blackness from race but rather calls attention to the material substrate that turns race into a phenomenon that can be experienced through sense perception. Moving between careful analysis and experimental modes of critique, Forms of Blackness offers a new way of thinking about the politics of visibility and offers a pressing invitation to question the ways we interpret what we see.

Sweden, like other Nordic countries, prides itself on being “colorblind” or immune to the kinds of racism found in, for example, the United States. In the 1960s and 1970s, white Swedish documentarians, in the fashion of early anthropologists, recorded racial tensions amid the US civil rights movement. More recently, in the twenty-first century, short films produced by Swedes of color have tackled racism and bigotry within Sweden.

Benjamin Mier-Cruz offers a comparative study of these two periods of Swedish documentary filmmaking. “Racially innocent” white documentarians of the mid-twentieth century developed an “aesthetics of altruism” predicated on Sweden’s assumed racial equalitarianism—a notion that their documentaries in turn helped create and maintain. In contemporary films, on the other hand, Swedes of color use the same filmic format to challenge not only their predecessors’ reductionist, pseudo-anthropological presentations but also Sweden’s purportedly colorblind ideology. Mier-Cruz’s close readings of films from both eras demonstrate the possibilities and limitations of the documentary form and the ways in which it is motivated by politics and activism.

Nine interdisciplinary essays employ, explore, and critique the analytical category and the practical stakes of visibility.

Not only does visibility matter to politics, but it is an increasingly intrinsic constituent element and a crucial asset of it. Accordingly, the challenge to social science is that of understanding how the new institutional, urban, and technological settings are reshaping the organization of the visible.

Ranging from urban public space to the new media and social media platforms, a team of distinguished scholars and researchers here addresses a vast terrain of inquiry by joining together original theoretical elaboration with careful empirical studies. The result is a thoroughly interdisciplinary endeavor, conducted with passion and insight. The New Politics of Visibility comprises nine original interdisciplinary chapters that analyze topical areas in the newly emerging modes of governance and society. The transformations of urban space and the working of new media form a core concern recurring through many of the essays but is by no means the sole topic, as other essays address the politics of visibility in crucial cultural spheres, including gender relations and professional life.

Contemporary visual and performance artists have adopted modern medical technologies such as MRIs and computer imaging—and the bodily access they imply—to reveal their limitations. In doing so they emphasize the unknowability of another’s bodily experience and the effects—physical, emotional, and social—of medical procedures.In The Scar of Visibility, Petra Kuppers examines the use of medical imagery practices in contemporary art, as well as different arts of everyday life (self-help groups, community events, Internet sites), focusing on fantasies and “knowledge projects” surrounding the human body. Among the works she investigates are the controversial Body Worlds exhibition of plastinized corpses; video projects by Shimon Attie on diabetes and Douglas Gordon on mental health and war trauma; performance pieces by Angela Ellsworth, Bob Flanagan, and Kira O’Reilly; films like David Cronenberg’s Crash and Marina de Van’s In My Skin that fetishize body wounds; representations of the AIDS virus in the National Museum of Health and on CSI: Crime Scene Investigations; and the paintings of outsider artist Martin Ramírez.At the heart of this work is the scar—a place of production, of repetition and difference, of multiple nerve sensations, fragile skin, outer sign, and bodily depth. Through the embodied sign of the scar, Kuppers articulates connections between subjective experience, history, and personal politics. Illustrated throughout, The Scar of Invisibility broadens our understanding of the significance of medical images in visual culture.Petra Kuppers is associate professor of English at the University of Michigan, Ann Arbor, and the author of Disability and Contemporary Performance: Bodies on Edge.

In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provides the grounds for possible future revolutionary dissent. She shows how documentaries, blockbuster feature films, and video art from China, Hong Kong, and Taiwan made between the 1990s and the present rehearse and communicate urban horror. In these films urban horror circulates through myriad urban spaces characterized by the creation of speculative crises, shifting temporalities, and dystopic environments inhospitable to the human body. The cinematic image and the aesthetics of urban horror in neoliberal post-socialist China lay the groundwork for the future to such an extent, Huang contends, that the seeds of dissent at the heart of urban horror make it possible to imagine new forms of resistance.

Examines how Brazilian soccer’s trailblazers—women, gay men, and trans players—leverage their visibility to fight marginalization and advance gender justice.

In Brazil, national identity is tightly bound up with soccer. In turn, soccer leaves a masculinist and heteronormative mark on what it means to be Brazilian. After all, for much of the twentieth century, the law deemed futbol “incompatible with female nature,” and women were banned from participating. Though the prohibition was lifted in 1979, the national soccer culture continued to serve the reproduction of a gendered society.

Which Team Are You On? develops theoretical and ethnographic insights into the struggle of dissident athletes for recognition and redistribution. By tracing three groundbreaking "firsts"—pioneer women Olympians, the national LGBTQ+ league (LiGay), and Brazil’s first trans team, the Meninos Bons de Bola—C. K. Snyder examines the athletes’ “visibility dilemma,” in which being seen is essential for legitimacy as futebolistas yet dangerously exposes players to violence and backlash. Snyder argues that, today, soccer is a key battleground for gender justice in Brazil, as a surging reactionary movement lays claim to the nation’s proud sporting heritage, placing women, gay, and trans athletes at even greater risk. To fight back, they take to the pitch, continuing to demand not only respect but also a place in the life of their country.