In the era of war on terror, the term terror has tended to be applied to its sudden eruptions in the metropolises of the global north. This volume directs its attention to terror's manifestations in other locations and lives. The title Living Through Terror refers both to the pervasiveness of terror in societies where extreme violence and war constitute the everyday processes of life as well as to the experience of surviving terror and living into the future.

The contributions consider terror's effects in those ignored and silenced locations where terror is either naturalised (the Philippines, South Africa, Timor Leste, Sri Lanka) or made invisible (the neo-liberal democracies of Australia and Italy).

The stories of ruined places, displaced bodies and identities shattered and remade that emerge from these pages bring into view the socio-political systems, cultural geographies and regimes of territoriality through which terror is engendered and naturalised, and the institutions and imaginaries that continue to underpin them.

The essays, literary writings and images collected here attend, in their different ways, to subjects living in and with terror as an element incorporated in their everyday, and to the processes by which terror exercises itself in their lives, whether it is perpetrated by state or non-state actors. Simultaneously, the contributions attest to the tactics subjects deploy to confront and negotiate conditions of terror, their attempts to live with and through terror and, ultimately, their strategies to recover through the everyday and the ordinary the seeds of life and hope.

Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe.

This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering.

This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere's screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies. This book was originally published as a special issue of Critical Arts.

Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe. This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.

Southern Screens: Cinema, culture and the global South adopts a transversal south-south approach to the study of screen culture across national and cultural territories. It examines the conditions by which screen culture participates in the generation, sharing, and circulation of new knowledge that is both southern and about the global South. The contributors, all of them residents of the world's southernmost nations, examine new and traditional media that manifests an affinity with southern cultural imaginaries and territories identifiable through the sociological category of "Global South." Some of their chapters engage in analysis linked to specific national contexts, others follow comparative approaches to screen culture across national, regional, and socio-historical borders. Sketching a new tapestry of references to other areas of southern social science and cultural theory, Southern Screens traces a critical genealogy that here finds a productive place within an emerging, comparative discussion of the screen cultures of the Global South. This book was originally published as a special issue of Critical Arts: South-North Cultural and Media Studies.

Southern Screens: Cinema, culture and the global South adopts a transversal south-south approach to the study of screen culture across national and cultural territories. It examines the conditions by which screen culture participates in the generation, sharing, and circulation of new knowledge that is both southern and about the global South. The contributors, all of them residents of the world's southernmost nations, examine new and traditional media that manifests an affinity with southern cultural imaginaries and territories identifiable through the sociological category of "Global South." Some of their chapters engage in analysis linked to specific national contexts, others follow comparative approaches to screen culture across national, regional, and socio-historical borders. Sketching a new tapestry of references to other areas of southern social science and cultural theory, Southern Screens traces a critical genealogy that here finds a productive place within an emerging, comparative discussion of the screen cultures of the Global South. This book was originally published as a special issue of Critical Arts: South-North Cultural and Media Studies.

In the era of war on terror, the term terror has tended to be applied to its sudden eruptions in the metropolises of the global north. This volume directs its attention to terror's manifestations in other locations and lives. The title Living Through Terror refers both to the pervasiveness of terror in societies where extreme violence and war constitute the everyday processes of life as well as to the experience of surviving terror and living into the future. The contributions consider terror's effects in those ignored and silenced locations where terror is either naturalised (the Philippines, South Africa, Timor Leste, Sri Lanka) or made invisible (the neo-liberal democracies of Australia and Italy). The stories of ruined places, displaced bodies and identities shattered and remade that emerge from these pages bring into view the socio-political systems, cultural geographies and regimes of territoriality through which terror is engendered and naturalised, and the institutions and imaginaries that continue to underpin them. The essays, literary writings and images collected here attend, in their different ways, to subjects living in and with terror as an element incorporated in their everyday, and to the processes by which terror exercises itself in their lives, whether it is perpetrated by state or non-state actors. Simultaneously, the contributions attest to the tactics subjects deploy to confront and negotiate conditions of terror, their attempts to live with and through terror and, ultimately, their strategies to recover through the everyday and the ordinary the seeds of life and hope.

The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere's screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies. This book was originally published as a special issue of Critical Arts.