New Books in Film

Stefania Marghitu's Teen TV (Routledge, 2021)explores the history of television's relationship to teens as a desired, but elusive audience, and the ways in which television has embraced youth subcultures, tracing the shifts in American and global televisual and youth cultures. Organized chronologically, Teen TV starts with Baby Boomers and moves to Gen X, Millennials, and Gen Z as a way to contextualize and discuss cultural and historical contexts of teen television and television audiences. The book examines a wide range of historical and contemporary programming: from the broadcast bottleneck, multi-channel era that included youth targeted spaces like MTV, the WB, and the CW, to the rise of streaming platforms and global crossovers. It covers the thematic concerns and narrative structure of the coming-of-age story, and the prevalent genres of teen TV, and milestones faced by teen characters. The book also includes interviews with creators and showrunners of hit network television teen series, including Degrassi's Linda Schulyer, and the costume designer that established a heightened turn in the significance of teen fashion on the small screen in Gossip Girl, Eric Daman. Rebekah Buchanan is an Associate 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

Would there have been a Third World without the Second? Perhaps, but it would have looked very different. Although most histories of these geopolitical blocs and their constituent societies and cultures are written in reference to the West, the interdependence of the Second and Third Worlds is evident not only from a common nomenclature but also from their near-simultaneous disappearance around 1990.From Internationalism to Postcolonialism: Literature and Cinema Between the Second and the Third Worlds (McGill-Queen's UP, 2020) addresses this historical blind spot by recounting the story of two Cold War-era cultural formations that claimed to represent the Third World project in literature and cinema: the Afro-Asian Writers Association (1958-1991) and the Tashkent Festival for African, Asian, and Latin American Film (1968-1988). The inclusion of writers and filmmakers from the Soviet Caucasus and Central Asia and extensive Soviet support aligned these organizations with Soviet internationalism. While these cultural alliances between the Second and the Third World never achieved their stated aim - the literary and cinematic independence of the literatures and cinemas of these societies from the West - they did forge what Ngugi wa Thiong'o called "the links that bind us," along which now-canonical postcolonial authors, texts, and films could circulate across the non-Western world until the end of the Cold War.In the process of this historical reconstruction, From Internationalism to Postcolonialism inverts the traditional relationship between Soviet and postcolonial studies: rather than studying the (post-)Soviet experience through the lens of postcolonial theory, it documents the multiple ways in which that theory and its attendant literary and cinematic production have been shaped by the Soviet experience.Jessica Bachman is a PhD Candidate at the University of Washington. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Federico Fellini’s distinct style delighted generations of film viewers and inspired filmmakers and artists around the world. In Fellini’s Films and Commercials: From Postwar to Postmodern, renowned Fellini scholar Frank Burke presents a film-by-film analysis of the famed director’s cinematic output from a theoretical perspective. The book explores Fellini’s movement from relatively classic filmmaking to modernist reflexivity and then to ‘postmodern reproduction’. Burke moves from analysis of stories told from a relatively ‘objective’ standpoint, to increased concentration on Fellini-as-author and on the cinematic apparatus, to Fellini’s dismantling of authorship and cinematic apparatus, to his postmodern signifying strategies. Grounded in poststructuralist approaches to texts and signification, Burke shows that Fellini is profoundly readable, if extremely complex. Revisiting Burke’s 1996 Fellini’s Films: From Postwar to Postmodern, this new edition includes revised material from the original, plus a new preface and new chapter on the filmmaker’s work on commercials. Elegantly written and thoroughly researched, this book is essential reading for Fellini fans and scholars.The Wiley Blackwell Companion to Federico Fellini presents new methodologies and fresh insights for encountering, appreciating, and contextualizing the director’s films in the 21st century. A milestone in Fellini scholarship, this volume provides contributions by leading scholars, intellectuals, and filmmakers, as well as insights from collaborators and associates of the Italian director. Scholarly yet readable essays explore the fundamental aspects of Fellini’s works while addressing their contemporary relevance in contexts ranging from politics and the environment to gender, race, and sexual orientation.Giancarlo Lombardi is Professor of Italian and Comparative Literature at the College of Staten Island and at the Graduate Center of the City University of New York. He has published widely on European and North American serial drama, on Italian Film and Cultural Studies, and on cultural representations of Italian terrorism. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before. In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre (Rowman & Littlefield Publishers, 2019), Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades. This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future.Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Nostalgia has received increasing attention for its role in shaping contemporary social and political life in the United States. Dr. Badia Ahad-Legardy distinguishes Afro-Nostalgia as a framework to think about the relationship between affect, black historical memory, and joy. Afro-Nostalgia: Feeling Good in Contemporary Black Culture (University of Illinois Press, 2021) mines black aesthetic practices that return to the past to generate good feelings for black audiences and makers. The past is not always available for black people as a site of good feelings, when one considers the realities of slavery, Jim Crow segregation, and racial inequality. Yet, contemporary cultural producers explore nostalgia through the subjects of slavery, food, visual culture, and music. Ahad-Legardy weaves together personal reflections and analyzes an eclectic archive to show how black people can turn to the past as a foundation from which to build hope for the present and future. She shows that despite the real traumas of the past and present for African Americans, nostalgia has the capacity to produce black joy.Dr. Badia Ahad-Legardy is a Professor in the Department of English and Vice Provost for Faculty Affairs at Loyola University Chicago. She is also the author of Freud Upside Down: African American Literature and Psychoanalytic Culture from the University of Illinois Press.Reighan Gillam is an Assistant Professor in the Department of Anthropology at the University of Southern California. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. Veronika Pehe's Velvet Retro: Postsocialist Nostalgia and the Politics of Heroism in Czech Popular Culture (Berghahn Books, 2020) locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.Jill Massino is a scholar of modern Eastern Europe with a focus on Romania, gender, and everyday life. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The People's Porn: A History of Handmade Pornography in America (Reaktion Books, 2020) is a beautifully written and groundbreaking historical study of homemade, handmade and amateur pornographic artifacts. Covering everything from erotic scrimshaw to amateur videos on the web, Lisa Sigel offers a fascinating account of what ordinary people thought about sexuality and desire. This hidden chapter of American sexual history is not only a much-needed counterbalance to ahistorical arguments which dominate pornography today, it’s also a reminder of humanity’s prodigious tendency to create and communicate sexual desires. At times, the images and objects presented in this book might appear shocking, crude, grotesque, problematic, confrontational, unrestrained, unruly; but in the end they are deeply human.Zachary Lowell holds an MA in global studies from Humboldts Universtität zu Berlin. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero.It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent.This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas.Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Isabel Rosario Cooper, if mentioned at all by mainstream history books, is often a salacious footnote: the young Filipino mistress of General Douglas MacArthur, hidden away at the Charleston Hotel in DC.Empire’s Mistress, Starring Isabel Rosario Cooper (Duke University Press: 2021) by Professor Vernadette Vicuña Gonzalez refuses to reduce Cooper’s life to that simple statement. The book investigates Cooper’s life both in the Philippines, where she was a famed vaudeville and film actress, and in the United States, where her life shows the struggles that Asian actors and actresses faced in a prejudiced Hollywood.In this interview I ask Vernadette to introduce us to Isabel Cooper, and go beyond the simplistic historical narrative of her as MacArthur’s mistress. Wel talk about how her life exemplifies how imperialism, gender and entertainment intersected in both the Philippines and the United States. And we briefly explore how this connects with the idea of being “Asian-American”.Vernadette Vicuña Gonzalez is Professor of American Studies at the University of Hawai‘i at Mānoa, and author of Securing Paradise: Tourism and Militarism in Hawai‘i and the Philippines (Duke University Press: 2013), and coeditor of Detours: A Decolonial Guide to Hawai‘i (Duke University Press: 2019).You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Empire’s Mistress. Follow on Facebook or on Twitter at @BookReviewsAsia.Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Since 2000, there has been a boom in Indonesian popular novels and films set overseas, showing young Indonesians living in foreign countries and having life changing adventures there. In the last 20 years, there have been at least 150 such novels and films released – many more than in the first 55 years of Indonesian independence.In this episode, Associate Professor David Reeve speaks to Dr Natali Pearson about his latest project looking at Indonesian romance novels and films set overseas, discussing the reasons behind the rise of this literary genre and how it conflicts with the lived experiences of many in the Indonesian diaspora.About Associate Professor David Reeve:Associate Professor David Reeve has been visiting Indonesia for over 50 years as a diplomat, researcher, historian, lecturer, language teacher and project manager. He was a founding figure in Australian Studies at Universitas Indonesia in the 1980s and was Resident Director of the ACICIS program in Yogyakarta in the late 1990s. He has worked in eight Indonesian universities and several in Australia. He is retired from UNSW and is now completing a biography of Indonesian historian Onghokham, to be published in January 2022.For more information or to browse additional resources, visit the Sydney Southeast Asia Centre’s website: www.sydney.edu.au/sseac. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film