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Stories of exotic desert landscapes, cutting-edge production
facilities, and lavish festivals often dominate narratives about
film and digital media on the Arabian Peninsula. However, there is
a much longer and more complicated history that reflects
long-standing interconnections between the Persian Gulf, Arabian
Sea, and Indian Ocean. Just as these waters are fluid spaces, so
too is film and digital media between cultures in East Africa,
Europe, North Africa, South Asia, Southwest Asia, and Southeast
Asia. Reorienting the Middle East examines past and contemporary
aspects of film and deigital media in the Gulf that might not
otherwise be legible in dominant frameworks. Contributors consider
oil companies that brought film exhibition to this area in the
1930s, the first Indian film produced on the Arabian Peninsula in
the late 1970s, blackness in Iranian films, the role of Western
funding in reshaping stories, Dubai's emergence in global film
production, uses of online platforms for performance art, the
development of film festivals and cinemas, and short films made by
citizens and migrants that turn a lens on racism, sexism, national
identity, and other social issues rarely discussed publicly.
Reorienting the Middle East offers new methods to analyze the
oft-neglected littoral spaces between nation-states and regions and
to understand the role of film and digital media in shaping
questions between area studies and film/media studies. Readers will
find new pathways to rethink the limitations of dominant categories
and frameworks in both fields.
Stories of exotic desert landscapes, cutting-edge production
facilities, and lavish festivals often dominate narratives about
film and digital media on the Arabian Peninsula. However, there is
a much longer and more complicated history that reflects
long-standing interconnections between the Persian Gulf, Arabian
Sea, and Indian Ocean. Just as these waters are fluid spaces, so
too is film and digital media between cultures in East Africa,
Europe, North Africa, South Asia, Southwest Asia, and Southeast
Asia. Reorienting the Middle East examines past and contemporary
aspects of film and deigital media in the Gulf that might not
otherwise be legible in dominant frameworks. Contributors consider
oil companies that brought film exhibition to this area in the
1930s, the first Indian film produced on the Arabian Peninsula in
the late 1970s, blackness in Iranian films, the role of Western
funding in reshaping stories, Dubai's emergence in global film
production, uses of online platforms for performance art, the
development of film festivals and cinemas, and short films made by
citizens and migrants that turn a lens on racism, sexism, national
identity, and other social issues rarely discussed publicly.
Reorienting the Middle East offers new methods to analyze the
oft-neglected littoral spaces between nation-states and regions and
to understand the role of film and digital media in shaping
questions between area studies and film/media studies. Readers will
find new pathways to rethink the limitations of dominant categories
and frameworks in both fields.
In Vampires, Race, and Transnational Hollywoods, Dale Hudson
explores the movement of transnational Hollywood's vampires,
between low-budget quickies and high-budget franchises, as it
appropriates visual styles from German, Mexican and Hong Kong
cinemas and off-shores to Canada, Philippines, and South Africa. As
the vampire's popularity has swelled, vampire film and television
has engaged with changing discourses around race and identity not
always addressed in realist modes. Here, teen vampires comfort
misunderstood youth, chador-wearing skateboarder vampires promote
transnational feminism, African American and Mexican American
vampires recover their repressed histories. Looking at contemporary
hits like True Blood, Twilight, Underworld and The Strain, classics
such as Universal's Dracula and Dracula, and miscegenation
melodramas like The Cheat and The Sheik, the book reconfigures
Hollywood historiography and tradition as fundamentally
transnational, offering fresh interpretations of vampire media as
trans-genre sites for political contestation.
In Vampires, Race, and Transnational Hollywoods, Dale Hudson
explores the movement of transnational Hollywood's vampires,
between low-budget quickies and high-budget franchises, as it
appropriates visual styles from German, Mexican and Hong Kong
cinemas and off-shores to Canada, Philippines, and South Africa. As
the vampire's popularity has swelled, vampire film and television
has engaged with changing discourses around race and identity not
always addressed in realist modes. Here, teen vampires comfort
misunderstood youth, chador-wearing skateboarder vampires promote
transnational feminism, African American and Mexican American
vampires recover their repressed histories. Looking at contemporary
hits like True Blood, Twilight, Underworld and The Strain, classics
such as Universal's Dracula and Dracula, and miscegenation
melodramas like The Cheat and The Sheik, the book reconfigures
Hollywood historiography and tradition as fundamentally
transnational, offering fresh interpretations of vampire media as
trans-genre sites for political contestation.
A vicious murder.
Churchgoer. Family friend. All-American boy. Murderer. Ken
Register, much to the shock of the small town of Conway, South
Carolina, was all of these things. Clean-cut, polite to a fault,
and respectful of elders, Ken was the kind of guy parents wanted
their daughters to date. But only months after a seventeen-year-old
girl's brutal murder, the residents of Conway were in for another
suprise: that the killer was one of their own.
A stunned community.
Crystal Todd and Ken were "best friends," and had even briefly
dated. When Crystal's hideously gutted body was found near the
woods of Conway, Ken checked in every day to console Crystal's
mother and inquire about the murder investigation.
A shocking killer.
Ken was practically the last person anyone would suspect. Until he
started acting nervous and suspicious, afraid he would be "framed"
for Crystal's murder. And until DNA tests confirmed that he was
indeed the man who repeatedly raped and stabbed Crystal Todd, then
left her mutilated body in a ditch.
Discover, through fascinating first-person accounts, the tortured
Southern son who committed murder; the courageous detective
determined to break the case; the broken mother who lost her only
child; and the disbelieving parents who, to this day, defend their
son's innocence.
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