In 1942, Bill Manbo (1908-1992) and his family were forced from their Hollywood home into the Japanese American internment camp at Heart Mountain in Wyoming. While there, Manbo documented both the bleakness and beauty of his surroundings, using Kodachrome film, a technology then just seven years old, to capture community celebrations and to record his family's struggle to maintain a normal life under the harsh conditions of racial imprisonment. Colors of Confinement showcases sixty-five stunning images from this extremely rare collection of color photographs, presented along with three interpretive essays by leading scholars and a reflective, personal essay by a former Heart Mountain internee. The subjects of these haunting photos are the routine fare of an amateur photographer: parades, cultural events, people at play, Manbo's son. But the images are set against the backdrop of the barbed-wire enclosure surrounding the Heart Mountain Relocation Center and the dramatic expanse of Wyoming sky and landscape. The accompanying essays illuminate these scenes as they trace a tumultuous history unfolding just beyond the camera's lens, giving readers insight into Japanese American cultural life and the stark realities of life in the camps. Also contributing to the book are: Jasmine Alinder is associate professor of history at the University of Wisconsin-Milwaukee, where she coordinates the program in public history. In 2009 she published Moving Images: Photography and the Japanese American Incarceration (University of Illinois Press). She has also published articles and essays on photography and incarceration, including one on the work of contemporary photographer Patrick Nagatani in the newly released catalog Desire for Magic: Patrick Nagatani--Works, 1976-2006 (University of New Mexico Art Museum, 2009). She is currently working on a book on photography and the law. Lon Kurashige is associate professor of history and American studies and ethnicity at the University of Southern California. His scholarship focuses on racial ideologies, politics of identity, emigration and immigration, historiography, cultural enactments, and social reproduction, particularly as they pertain to Asians in the United States. His exploration of Japanese American assimilation and cultural retention, Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934-1990 (University of California Press, 2002), won the History Book Award from the Association for Asian American Studies in 2004. He has published essays and reviews on the incarceration of Japanese Americans and has coedited with Alice Yang Murray an anthology of documents and essays, Major Problems in Asian American History (Cengage, 2003). Bacon Sakatani was born to immigrant Japanese parents in El Monte, California, twenty miles east of Los Angeles, in 1929. From the first through the fifth grade, he attended a segregated school for Hispanics and Japanese. Shortly after Pearl Harbor, his family was confined at Pomona Assembly Center and then later transferred to the Heart Mountain Relocation Center in Wyoming. When the war ended in 1945, his family relocated to Idaho and then returned to California. He graduated from Mount San Antonio Community College. Soon after the Korean War began, he served with the U.S. Army Engineers in Korea. He held a variety of jobs but learned computer programming and retired from that career in 1992. He has been active in Heart Mountain camp activities and with the Japanese American Korean War Veterans.

Drawing on unprecedented access to the video archives of B'Tselem, an Israeli NGO that distributes cameras to Palestinians living in the West Bank, East Jerusalem, and the Gaza Strip, Liat Berdugo lays out an argument for a visual studies approach to videographic evidence in Israel/Palestine. Using video stills as core material, it discusses the politics of videographic evidence in Israel/Palestine by demonstrating that the conflict is one that has produced an inequality of visual rights. The book highlights visual surveillance and counter surveillance at the citizen level, how Palestinians originally filmed to "shoot back" at Israelis, who were armed with shooting power via weapons as the occupying force. It also traces how Israeli private citizens began filming back at Palestinians with their own cameras, including personal cell phone cameras, thus creating a simultaneous, echoing counter surveillance. Complicating the notion that visual evidence alone can secure justice, the Weaponized Camera in The Middle East asks how what is seen, but also who is seeing, affects how conflicts are visually recorded. Drawing on over 5,000 hours of footage, only a fraction of which is easily accessible to the public domain, this book offers a unique perspective on the strategies and battlegrounds of the Israel/Palestine conflict.

Two of the most stylized shots in cinema - the close-up and the long shot - embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer's power to see, feel, and conceive. To understand why a director prefers one type of shot over the other then is to explore more than aesthetics: It uncovers significant assumptions about film as an art of intervention or organic representation. Close-ups and Long Shots in Modern Chinese Cinemas is the first book to compare these two shots within the cultural, historical, and cinematic traditions that produced them. In particular, the global revival of Confucian studies and the transnational appeal of feminism in the 1980s marked a new turn in the composite cultural education of Chinese directors whose shot selections can be seen as not only stylistic expressions, but ethical choices responding to established norms about self-restraint, ritualism, propriety, and female agency. Each of the films discussed - Zhang Yimou's Red Sorghum, Ang Lee's Lust, Caution, Hou Hsiao-Hsien's The Assassin, Jia Zhangke's I Wish I Knew, and Wei Desheng's Cape No. 7 - represents a watershed in Chinese cinemas that redefines the evolving relations among film, politics, and ethics. Together these works provide a comprehensive picture of how directors contextualize close-ups and long shots in ways that make them interpretable across many films as bellwethers of social change.

ber homosexuelle Frauen gibt es auffallend wenig Quellen. Historisch gesehen existieren fast nur Texte ber m nnliche Homosexualit t, wohingegen eine lesbische Lebensweise kaum registriert wurde. Auch heutzutage scheint die weibliche Homosexualit t beinahe unsichtbar zu sein. Obwohl es Frauen gibt, die sich zu Frauen hingezogen f hlen, obwohl es sie wohl immer gegeben hat, sind sie in der ffentlichkeit so gut wie nicht pr sent. Die Folge davon sind zahlreiche Vorurteile und Klischees. Wirft man einen Blick auf die Welt der Spielfilme, in denen weibliche Homosexualit t thematisch involviert ist, l sst sich schnell feststellen, dass die Inszenierung lesbischer Pr senz deutlich homogen erscheint. Immer wieder wird auf die gleichen Darstellungsmethoden zur ckgegriffen, sobald weibliche Homosexualit t filmisch in Szene gesetzt wird. Die Umsetzung endet dabei in einer F lle von Ablehnungsreaktionen gegen ber lesbischen Frauen, vielen m nnlich auftretenden Frauen, zahlreichen Femmes fatales und noch mehr integrierten M nnern in einer eigentlich lesbischen love story. Konkretisiert werden kann das nur an den Filmen selbst. Und Beispiele lassen sich dabei sowohl in unterschiedlichen Entstehungszeiten, Kulturen, als auch Genres finden. Denn das 'lesbische Filmschema' beginnt in 'Die B chse der Pandora' und setzt sich bis in die heutige Zeit fort. brig bleibt die Frage, ob sich die mangelnde lesbische Pr senz in der ffentlichkeit als Antwort f r die stereotype Inszenierung von weiblicher Homosexualit t herausstellen kann.