Asia

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus.

Documentary Testimonies examines documentary films that compel us to bear witness, move us to anger or tears, and possibly mobilize us to action.

Due to its ability to freeze a moment in time, the photo is a uniquely powerful device for ordering and understanding the world. But when an image depicts complex, ambiguous, or controversial events--terrorist attacks, wars, political assassinations--its ability to influence perception can prove deeply unsettling. Are we really seeing the world "as it is" or is the image a fabrication or projection? How do a photo's content and form shape a viewer's impressions?

The Right to Play Oneself collects for the first time Thomas Waugh’s essays on the politics, history, and aesthetics of documentary film, written between 1974 and 2008. Woven through the volume is the relationship of the documentary with the history of the Left, including discussions of LGBT documentary pioneers and the firebrand collectives that changed the history of documentary.

In this collection of provocative essays about art and culture, Trinh Minh-ha challenges Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology.

Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the past one hundred years. Leshu Torchin’s broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response, ultimately calling on viewers to act on behalf of human rights.

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to “give a voice to the voiceless,” an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals.

Lesbians, prostitutes, women likely to have sex across racial lines, "brought to the United States for immoral purposes," or "arriving in a state of pregnancy"—national threats, one and all. Since the late nineteenth century, immigrant women’s sexuality has been viewed as a threat to national security, to be contained through strict border-monitoring practices. By scrutinizing this policy, its origins, and its application, Eithne Luibhéid shows how the U.S.

Liberal democracies are based on principles of inclusion and tolerance. But how does the principle of tolerance work in practice in countries such as Germany, France, India, South Africa, and the United States, where an increasingly wide range of cultural groups holds often contradictory beliefs about appropriate social and family life practices? As these democracies expand to include peoples of vastly different cultural backgrounds, the limits of tolerance are being tested as never before.

Most cases are not life-threatening, which is also what makes the virus a historic challenge to contain.