Suspicious of what he called the spectator's "sticky" adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and "myth". In Roland Barthes and Film: Myth, Eroticism and Poetics (Bloomsbury), Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films - and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in "leaving the cinema" - disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance - he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.Bill Schaffer is a semi-retired lecturer in Film Studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Have you seen that other Capra film in which the protagonist in a moment of crisis, attempts suicide on Christmas Eve? Join Mike and Dan for a conversation about Meet John Doe (1941), a film Frank Capra made five years before It’s a Wonderful Life and which shares that film’s celebration of the common man—the John Doe—living and working and dying across the country. We know we’d all be better off—and the country would be in better shape—if we acted like the people in the John Doe Clubs, so why don’t we? How many of your neighbors do you know on a first-name basis? When’s the last time you reached out to someone you don’t know very well but you know needs a hand? Capra’s film may seem like a collection of platitudes, but it’s a cross between A Christmas Carol and Lord of the Flies and is absolutely prophetic of a film that would follow it thirty-five years later about another media-created sensation who’s mad as hell and not going to take it any more!The University of Mississippi Press has published many volumes of interviews of notable directors; you can find the edition on Frank Capra here. And—did you know that Capra wrote a novel in 1966, not published until 2018? Neither did we. You can find Cry Wilderness here.Follow us on X or Letterboxd. Incredible bumper music by John Deley. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

When teaching a public course called “The Age of Debt” this winter break, I had the strange realization that one of the the most successful readings in that course, the one which most clearly explained the 2008 crisis and the financialized economy, was written by an English professor. It was Annie McClanahan’s Dead Pledges: Debt, Crisis, and Twenty-First Century Culture (Stanford University Press, 2016). The book is a masterful exploration of the cultural politics of the financial crisis and a powerful mediation on how to make sense of an era of unrepayable debts. As a review in the LA Review of Books notes, McClanahan has resurrected and repurposed the rich tradition of Marxist literary criticism which brought us Raymond Williams, analyzing post-crisis literature, photography, and cinema as cultural texts registering “a new ‘crisis subjectivity’ in the wake of the mortgage meltdown’s shattering revelations.” Dead Pledges is a must read. For whom? Well, anyone living in the 21st century, concerned about insurmountable debts, thinking of how culture and the economy transect each other, and striving for a radical politics fit for the mortgaged times in which we live.Aparna Gopalan is a Ph.D. student in Social Anthropology at Harvard University. Her research focuses on how managing surplus populations and tapping into fortunes at the “bottom-of-the-pyramid” are twin-logics that undergird poverty alleviation projects in rural Rajasthan. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

There’s nothing like being conned at the movies. Join Mike and Dan as they talk about George Roy Hill’s beautifully-constructed toy, The Sting. Dan explains how the long con in the film is like a theatrical production and how con games and films are similar forms of art. Mike revs up with a rant about why Pauline Kael is overrated, continues with one about how Robert Shaw is underrated, and finally claims that anyone who doesn’t like The Sting needs to sit in a room for thirty minutes and reevaluate their life choices. So turn on that player piano and give it a listen!Paul Newman’s posthumously-released memoir, The Extraordinary Life of an Ordinary Man, is a terrific glimpse into the actor’s thoughts and recollections on life as one of the last bona fide movie stars.Follow us on X or Letterboxd. The bumper music for this episode is by Lord Vinheteiro: you can see the whole incredible video of his performing “The Entertainer” on an authentic-era piano here and visit his YouTube channel here. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building.Although many feminist critics have articulated women's active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko.Nobuko Ishitate-Okunomiya Yamasaki's book Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire (Routledge, 2021) will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Welcome to the latest episode of New Books in Chinese Studies! I am your host, Julia Keblinska, and today I will be talking today to Jie Li, about her new book, Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia UP, 2023). The book describes the Chinese media revolution, namely the enormous media project undertaken by the communist state to “solder” a dispersed and heterogenous populace into the revolutionary masses. Li shows how in the face of postwar material constraints and technological shortages, cultural workers (and audiences) became human components of audiovisual media networks that connected and built the new nation. Through a careful reading of archival sources and oral interviews, Li excavates two historically grounded terms, the guerrilla and the spirit medium, to develop a theoretical framework that explains how cinema and propaganda functioned in the socialist state. Her chapters explore the top-down visions of the cinematic image economy (the directives laid down by Mao and Jiang Qing), the grassroots labor of mobile projectionists, and the memories of film workers and audiences who, respectively, struggled to contain and enjoyed the polysemy inherent in socialist film experience. I’m very eager to hear Jie Li tell us more about this fascinating text! NOTE: I apologize for sound issues in the recording and hope you can enjoy our conversation despite them!Julia Keblinska is a postdoc at the East Asian Studies Center at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

George MacLeod's book Mediating Violence from Africa: Francophone Literature, Film, and Testimony After the Cold War (U Nebraska Press, 2023) explores how African and non-African Francophone authors, filmmakers, editors, and scholars have packaged, interpreted, and filmed the violent histories of post–Cold War Francophone Africa. This violence, much of which unfolded in front of Western television cameras, included the use of child soldiers facilitated by the Soviet Union’s castoff Kalashnikov rifles, the rise of Islamist terrorism in West Africa, and the horrific genocide against the Tutsi in Rwanda.Through close readings of fictionalized child-soldier narratives, cinematic representations of Islamist militants, genocide survivor testimony, and Western scholarship, George S. MacLeod analyzes the ways Francophone African authors and filmmakers, as well as their editors and scholarly critics, negotiate the aesthetic, political, cultural, and ethical implications of making these traumatic stories visible. MacLeod argues for the need to periodize these productions within a “post–Cold War” framework to emphasize how shifts in post-1989 political discourse are echoed, contested, or subverted by contemporary Francophone authors, filmmakers, and Western scholars.The questions raised in Mediating Violence from Africa are of vital importance today. How the world engages with and responds to stories of recent violence and loss from Africa has profound implications for the affected communities and individuals. More broadly, in an era in which stories and images of violence, from terror attacks to school shootings to police brutality, are disseminated almost instantly and with minimal context, these theoretical questions have implications for debates surrounding the ethics of representing trauma, the politicization of memory, and Africa’s place in a global (as opposed to a postcolonial or Euro-African) economic and political landscape.Annie deSaussure holds a Ph.D. in French from Yale University and is an Assistant Professor of French and Francophone Studies in the Department of Languages and Literary Studies at Lafayette College. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In The Needle and the Lens: Pop Goes to the Movies from Rock 'n' Roll to Synthwave (University of Minnesota Press, 2023), Nate Patrin examines how the link between film and song endures as more than a memory. It is, in fact, a sort of cultural symbiosis that has mutually influenced movies and pop music, a phenomenon Patrin tracks through the past fifty years, revealing the power of music in movies to move the needle in popular culture. Rock 'n' roll, reggae, R&B, jazz, techno, and hip-hop: each had its moment--or many--as music deployed in movies emerged as a form of interpretive commentary, making way for the legitimization of pop and rock music as art forms worthy of serious consideration. These commentaries run the gamut from comedic irony to cheap-thrills excitement to deeply felt drama, all of which Patrin examines in pairings such as American Graffiti and "Do You Want to Dance?"; Saturday Night Fever and "Disco Inferno"; Apocalypse Now and "The End"; Wayne's World and "Bohemian Rhapsody"; and Jackie Brown and "Didn't I Blow Your Mind This Time?"What gives power to these individual moments, and how have they shaped and shifted music history, recasting source material or even stirring wider interest in previously niche pop genres? As Patrin surveys the scene--musical and cinematic--across the decades, expanding into the deeper origins, wider connections, and echoed histories that come into play, The Needle and the Lens offers a new way of seeing, and hearing, these iconic soundtrack moments.Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Olga V. Solovieva's book The Russian Kurosawa: Transnational Cinema, Or the Art of Speaking Differently (Oxford UP. 2023) offers a new historical perspective on the work of the renowned Japanese film director Akira Kurosawa. It uncovers Kurosawa's debt to the intellectual tradition of Japanese-Russian democratic dissent, reflected in the affinity for Kurosawa's worldview expressed by such Russian directors as Grigory Kozintsev and Andrei Tarkovsky. Through a detailed discussion of the Russian subtext of Kurosawa's cinema, most clearly manifested in the director's films based on Dostoevsky, Tolstoy, Gorky, and Arseniev, the book shows that Kurosawa used Russian intertexts to deal with the most politically sensitive topics of postwar Japan. Locating the director in the cultural tradition of Russian-inflected Japanese anarchism, the book challenges prevalent views of Akira Kurosawa as an apolitical art house director or a conformist studio filmmaker of muddled ideological alliances by offering a philosophically consistent picture of the director's participation in post-war debates on cultural and political reconstruction.Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

On November 20, 1983, a three-hour made-for-TV movie The Day After premiered on ABC. Set in the heartland of Lawrence, Kansas, the film depicted the events before, during, and after a Soviet nuclear attack with vivid scenes of the post-apocalyptic hellscape that would follow. The film was viewed by over 100 million Americans and remains the highest rated TV movie in history. After the premiere, ABC News aired an episode of Viewpoint, a live special featuring some of the most prominent public intellectuals of the debating the virtues of the Arms Race and the prospect of a winnable nuclear war. The response to the film proved more powerful than perhaps any film or television program in the history of media. Aside from its record-shattering Nielsen ratings, it enjoyed critical acclaim as well as international box office success in theatrical screenings.The path to primetime for The Day After proved nearly as treacherous as the film's narrative. Battles ensued behind the scenes at the network, between the network and the filmmakers, with Broadcast Standards and Ad Sales, in the edit room and on the set, including the "nuke-mares" experienced by the cast. After the director was pushed aside, he contemplated suicide while also engineering a comeback through the press. But these skirmishes pale in comparison to the culture wars triggered by the film in the press, alongside a growing Nuclear Freeze movement, and from a united, pro-nuclear Right. Once efforts to alter the script failed, the White House conducted a full-throttled propaganda campaign to hijack the film's message.Apocalypse Television: How the Day After Helped End the Cold War (Applause Books, 2023) features a dramatic insider's account of the making of and backlash against The Day After. No other book has told this story in similar fashion, venturing behind-the-scenes of the programming and news divisions at ABC, Reagan officials in the White House who mounted the propaganda campaign, rogue publicists who hijacked the film to promote a Nuclear Freeze, the backlash from the conservative movement and Religious Right, the challenges encountered by film's production team from conception to reception, and the experiences of the citizens of Lawrence, Kansas, where the film was set and shot, if also, ground zero in America's nuclear heartland.David Craig is a Clinical Professor in the Annenberg School at the University of Southern California. Before his academic career, he was a multiple Emmy-nominated Hollywood producer and cable television executive involved in over thirty projects.Caleb Zakarin is the Assistant Editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film