This collection brings together work on forms of popular television produced within the authoritarian regimes of Europe after World War II. Ten chapters based on new and original research examine approaches to programming and individual programmes in Spain, Greece, Czechoslovakia, Romania, the Soviet Union and the GDR at a time when they were governed as dictatorships or one-party states. Rather than foregrounding the political economy of television or its role as an overt tool of state propaganda, the focus is on popular television-everyday programming that ordinary people watched. An editorial introduction examines the question of what can be considered ‘popular’ when audience appeal is often secondary to the need for state control. With familiar measures of popularity often absent, contributors adopt various approaches in applying the term to the programming they examine and in considering the reasons for its popularity. Drawing on surviving archives, scripts and production records, contemporary publications, YouTube clips, and interviews with producers and performers, its chapters recover examples of television programming history unknown beyond national borders and often preserved largely in the memories of the audiences who lived with them. Popular Television in Authoritarian Europe represents a significant intervention in transnational television studies, making these histories available to scholars for the first time, encouraging comparative enquiry and extending the reach – intellectually and geographically – of European television history.
Staging art and Chineseness is about the politics of borders ascribed to Chinese
contemporary art and the identification of artists by locations and exhibitions.
The paradoxical subject of Chineseness is central to this inquiry, which begins
with the question, what does the term Chinese Art mean in the aftermath of the
globalized shift in art? Through an exploration of embodied and performative
representations (including eco-feminist performances) by artists from China and
diasporic locations, the case studies in this book put to the test the very
premise of the genealogical inscription for cultural objects attributed to the
residency, homeland, or citizenship of the Chinese artist. Acknowledging the
orientalist assumptions and appropriations that Chineseness also signifies, this
study connects the artistic performance to the greater historical scope of
‘geographical consciousness’ envisioned by past and present global expositions.
The emergence of China’s shiyan meishu experimental art movement in the
1980s–1990s has largely been the defining focus for ‘global art’ during the
period when artfairs, biennials, and triennials also came into prominence as the
new globalized art institution (exemplified by China’s first biennial in
Guangzhou). The political aim is to recognize the multiple contradictions and
repetitions of history engendered by art, nationalism, and capital in the legacy
of Althusserian/Maoist interpellations – the reifications of global capitalist
illusions in the twenty-first century are conveyed in this book by performative
artistic expressions and the temporal space of the exposition.
This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.
In the 1930s, a series of crises transformed relationships between settlers and Aboriginal people in Australia’s Northern Territory. This book examines archives and texts of colonial administration to study the emergence of ideas and practices of indirect rule in this unlikely colonial situation. It demonstrates that the practice of indirect rule was everywhere an effect of Indigenous or ‘native’ people’s insistence on maintaining and reinventing their political formations, their refusal to be completely dominated, and their frustration of colonial aspirations to total control. These conditions of difference and contradiction, of the struggles of people in contact, produced a colonial state that was created both by settlers and by the ‘natives’ they sought to govern. By the late 1930s, Australian settlers were coming to understand the Northern Territory as a colonial formation requiring a new form of government. Responding to crises of social reproduction, public power, and legitimacy, they rethought the scope of settler colonial government by drawing on both the art of indirect rule and on a representational economy of Indigenous elimination to develop a new political dispensation that sought to incorporate and consume Indigenous production and sovereignties. This book locates Aboriginal history within imperial history, situating the settler colonial politics of Indigeneity in a broader governmental context. Australian settler governmentality, in other words, was not entirely exceptional; in the Northern Territory, as elsewhere, indirect rule emerged as part of an integrated, empire-wide repertoire of the arts of governing and colonising peoples.
According to the author, queer as an identification and subjectivity is important to his writing of transnational South Asian art histories. This book talks about new transnational South Asian art histories, to make visible histories of artworks that remain marginalised within the discipline of art history. This is done through a deliberate 'productive failure', by not upholding the strictly genealogical approach. The book discusses authorship by examining the writing about the work of Anish Kapoor to explore the shifting manner in which critics and art historians have identified him and his work. It focuses on the author's own identification as queer and South Asian American to put pressure on the coherency of an LGBTQI art history. It connects formal similarities of abstract work produced in the 1960s in New York City by Cy Twombly and Natvar Bhavsar. The book deals with an art history that concerns facile categories such as South Asian/non-South Asian and black/white, and discusses the works of Stephen Dean, Mario Pfeifer, Adrian Margaret Smith Piper, and Kehinde Wiley. It focuses on practice-led research by discussing 'Sphere:dreamz,; which was produced by queer-identified South Asian women. Continuing the focus, the book looks at the multi-site exhibition 'Mixing It Up: Queering Curry Mile and Currying Canal Street', organised by the author in 2007. It addresses the question of how certain subjects are considered as 'belonging' and others as not; and the role of art in the reconstitution of notions of 'home' and transnational South Asian art histories.
The tale of transnational advocacy networks (TANs) is typically one of non-state actors reshaping world politics through the power of persuasion and principled ideas. This book is about the unromantic and often uncomfortable realities of transnational advocacy in a strong authoritarian state and rising world power. Drawing together case studies that span a range of issues, repertoires, and results of advocacy, it elaborates the constitutive role of the state in contemporary transnational activism. Because transnational networks are significant globally and domestically, the book speaks to students of comparative and international politics, bridging what is treated here as a superficial divide between the sub-fields. It discusses the campaigns around justice for Falun Gong and the strengthening of intellectual property rights in China. The book then traces the campaign around HIV/AIDS treatment, and the effort to abolish capital punishment in China. In the campaign for Tibetan independence, Chinese intransigence on the matter of national sovereignty for Tibet produced a split within the TAN. The book argues that that TANs can be effective when a legitimacy-seeking state deems the adoption of new policy positions in a given issue area to be critical for the preservation of its own moral authority and power monopoly. The key to working more effectively in China, therefore, is to recognize the source of Chinese Communist Party legitimacy and the connectedness of an issue to it. Those wishing to approach China recognize and take seriously the Chinese power to shape global issues and campaigns in support of them.
A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.
Transnational party federations (TNPs) have been critical prisms through which to
analyse the EU’s tensions between intergovernmentalism and supranationalism.
This study focuses on the radical left TNP, the European Left Party (EL),
founded in 2004. It centres on four general questions: first; the conditions
under which TNPs might be successful; second, how the EL compares with other
TNPs, particularly those of the broad centre-left, the Party of European
Socialists (PES) and the European Green Party (EGP); third, to what extent the
EL has fostered a consensus over positions towards the EU previously
conspicuously lacking among the radical left; and fourth, the degree to which
the EL has enabled an increase in the electoral or policy influence of the
radical left in Europe. The study highlights the strengths and weaknesses of
TNPs as networks of Europeanisation; they have important roles in the EU
political system but remain timid actors with only selectively developed
transnationalism. It shows how the EL is a paradoxical actor; on the one hand it
has brought radical left transnational co-operation to historical highs; on the
other it is both less influential than the PES and less transnational and
consolidated than the EGP. Such paradoxes result from persistent internal
divisions between Europeanists and sovereigntists, as well as suboptimal
internal structures. The influence of the EL is also paradoxical. It has emerged
as a centre of attraction for the European radical left promoting the Left
Europeanist position, but is a long way from being hegemonic or unchallenged on
This book examines the rise and fall of the aristocratic Lacy family in England, Ireland, Wales and Normandy. As one of the first truly transnational studies of individual medieval aristocrats, it provides a fresh look at lordship and the interplay between aristocracy and crown from 1166 to 1241. Hugh de Lacy (†1186), traded on his military usefulness to King Henry II of England in Wales and Normandy to gain a speculative grant of the ancient Irish kingdom of Mide (Meath). Hugh was remarkably successful in Ireland, where he was able to thwart the juvenile ambitions of the future King John to increase his powers there. Hugh was hailed by native commentators as ‘lord of the foreigners of Ireland’ and even ‘king of Ireland’. In this study his near-legendary life is firmly grounded in the realities of Anglo-Irish politics. The political career of Hugh’s less famous son and heir, Walter de Lacy (†1241), is in turn illuminated by surviving royal records and his own acta. Walter was one of the major actors in the Irish Sea province under Kings Richard I, John and Henry III, and his relationship with each king provides a unique insight into the nature of their reigns. Over the course of fifty-two years, Walter helped to shape the course of Anglo-Irish history. That history is recast in light of the transnational perspective of its chief participants. This book is a major contribution to current debates over the structure of medieval European society.
The consumer co-operative movement was one of the most important popular movements in inter-war Europe, but remains under-researched by historians in comparison to other social movements, especially with regard to its international dimensions. From 1895, the co-operative movement also had its own international organisation, the International Co-operative Alliance (ICA). This book explores the transnational history of consumer co-operation from the establishment of the movement in the second half of the nineteenth century to the outbreak of the Second World War, focusing in particular on co-operation in the Nordic countries (Denmark, Finland, Norway and Sweden). The co-operative movement was especially strong throughout the region and the Nordic co-operative federations played a prominent role in the ICA. The fundamental question explored in the book concerns the meaning of co-operation: was it a social movement or an economic enterprise? Did it aspire to challenge capitalism or to reform it? Did it contain at its heart a political vision for the transformation of society or was it simply a practical guide for organising a business? I argue that it was both, but that an examination of the debates over the different meanings of co-operation can also illuminate broader questions about the emergence of consumer interests in the first half of the twentieth century, especially in a transnational context. Studying the Nordic co-operative movement also helps to shed light on the growing international interest in this region and the emergence of a Nordic “middle way” during the 1930s.