This title brings Deleuze's writings on cinema into contact with world cinema, drawing on examples ranging from Georges Melies to Michael Mann. "Deleuze's Cinema books" continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. "Deleuze and World Cinemas" explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Melies to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.

Prominent scholars across the political divide and academic disciplines analyze how the dominant political parties in Malaysia and Singapore, United Malays National Organisation (UMNO) and the People's Action Party (PAP), have stayed in power. With a focus on developments in the last decade and the tenures of Prime Ministers Najib Tun Razak and Lee Hsien Loong, the authors offer a range of explanations for how these regimes have remained politically resilient.

When is it OK to lie about the past? If history is a story, then everyone knows that the 'official story' is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema Against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the world's memories. The most enchanting and disturbing films of recent years - Uncle Boonmee Who Can Recall his Past Lives, Nostalgia for the Light, Even the Rain, The Act of Killing, Carancho, Lady Vengeance - create ethical encounters with these lost pasts, covering vast swathes of the planet and crossing huge eras of time. Analysed using the philosophies of Gilles Deleuze (the time-image) and Enrique Dussel (transmodern ethics), the multitudinous cinemas of the world are shown to speak out against doublethink, countering this biggest lie of all with their myriad 'false' versions of world history. Cinema, acting against doublethink, remains a powerful agent for reclaiming the truth of history for the 'post-truth' era.

When is it OK to lie about the past? If history is a story, then everyone knows that the 'official story' is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema Against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the world's memories. The most enchanting and disturbing films of recent years - Uncle Boonmee Who Can Recall his Past Lives, Nostalgia for the Light, Even the Rain, The Act of Killing, Carancho, Lady Vengeance - create ethical encounters with these lost pasts, covering vast swathes of the planet and crossing huge eras of time. Analysed using the philosophies of Gilles Deleuze (the time-image) and Enrique Dussel (transmodern ethics), the multitudinous cinemas of the world are shown to speak out against doublethink, countering this biggest lie of all with their myriad 'false' versions of world history. Cinema, acting against doublethink, remains a powerful agent for reclaiming the truth of history for the 'post-truth' era.

Twenty years after the terrorist attacks on the World Trade Center and Pentagon, we can now see that the War on Terror profoundly affected Western self-understanding and the secular liberal image it sought to project onto a global canvas at what was widely assumed to be the end of history. The dramatic change in awareness that 9/11 brought about was particularly vivid, this book maintains, in the media that sustained and displayed the West's self-image. In particular, fiction, film, drama, the visual arts, and popular music have all struggled to come to grips with the phenomena of terror, asymmetrical warfare, home grown jihadist activism, and the moral and political dilemmas they evoke. The book further argues that the evolving progressive response to 9/11 assumed an increasingly ideological character via the critical and normative international relations theories that came to dominate Western campuses after 2001. These perspectives gave substance to an increasingly critical depiction of the West's War on Terror and its popular promotion through works of literature, film, music, and the visual arts. Promoted through these popular genres, it combined the ingredients that formed "woke" ideology in an accessible formula that subsequently dominated both the mainstream media, academia, and, in time, government agencies.

Columbo is 50 years old. A global smash in the 1970s, it is now a cult TV favourite. What is the reason for this enduring popularity? In this fascinating exploration of a television classic, David Martin-Jones argues that Columbo reveals how our current globalised world of 24/7 capital, invasive surveillance and online labour emerged in the late 20th century. Exploring everything from the influences on Peter Falk's iconic acting style to the show's depiction of Los Angeles, he illuminates how our attention is channelled, via technologies like television and computers, to influence how we perform, learn, police and locate ourselves in today's world. Columbo emerged alongside shows like Kojak and The Rockford Files, but re-viewing the series today reveals how contemporary television hits from Elementary to The Purge continue to shape how and why we pay attention 24/7.

This edited collection, including contributors from the disciplines of art history, film studies, cultural geography and cultural anthropology, explores ways in which islands in the north of England and Scotland have provided space for a variety of visual-cultural practices and forms of creative expression which have informed our understanding of the world. Simultaneously, the chapters reflect upon the importance of these islands as a space in which, and with which, to contemplate the pressures and the possibilities within contemporary society. This book makes a timely and original contribution to the developing field of island studies, and will be of interest to scholars studying issues of place, community and the peripheries.

Columbo is 50 years old. A global smash in the 1970s, it is now a cult TV favourite. What is the reason for this enduring popularity? In this fascinating exploration of a television classic, David Martin-Jones argues that Columbo reveals how our current globalised world of 24/7 capital, invasive surveillance and online labour emerged in the late 20th century. Exploring everything from the influences on Peter Falk's iconic acting style to the show's depiction of Los Angeles, he illuminates how our attention is channelled, via technologies like television and computers, to influence how we perform, learn, police and locate ourselves in today's world. Columbo emerged alongside shows like Kojak and The Rockford Files, but re-viewing the series today reveals how contemporary television hits from Elementary to The Purge continue to shape how and why we pay attention 24/7.

Contemporary Screen Ethics focuses on the intertwining of the ethical with the socio-political, considering such topics as: care, decolonial feminism, ecology, histories of political violence, intersectionality, neoliberalism, race, and sexual and gendered violence. The collection advocates looking anew at the global complexity and diversity of such ethical issues across various screen media: from Netflix movies to VR, from Chinese romcoms to Brazilian pornochanchadas, from documentaries to drone warfare, from Jordan Peele movies to Google Earth. The analysis exposes the ethical tension between the inclusions and exclusions of global structural inequality (the identities of the haves, the absences of the have nots), alongside the need to understand our collective belonging to the planet demanded by the climate crisis. Informing the analysis, established thinkers like Deleuze, Irigaray, Jameson and Ranciere are joined by an array of different voices - Ferreira da Silva, Gill, Lugones, Milroy, Munoz, Sheshadri-Crooks, Verges - to unlock contemporary screen ethics.

A wide-ranging collection of essays on the film-philosophy of Gilles Deleuze Deleuze and Film explores how different films from around the world 'think' about a range of topics like history, national identity, geopolitics, ethics, gender, genre, affect, religion, surveillance culture, digital aesthetics and the body. Mapping the global diversity of this cinematic thinking, this book greatly expands upon the range of films discussed in Deleuze's Cinema books. Key Features * Analyses several Asian films: including Japan's most famous monster movie Godzilla, the colourful Thai western Tears of the Black Tiger, the South Korean road movie Traces of Love, and the Iranian comedy The Lizard * Discusses American film noir, recent European art films such as Red Road and The Lives of Others and Hollywood CGI Blockbusters including Hellboy and The Curious Case of Benjamin Button * Includes a dedicated chapter on the animated documentary Waltz with Bashir * Studies a host of different directors, from Rainer Werner Fassbinder to Baz Luhrmann

This book provides a clear and accessible account of political and economic development in Pacific Asia. Adopting a comparative and historical approach, it examines the factors behind the 'East Asian Miracle' which has transformed the economies and societies of South Korea, Taiwan, Hong Kong, Singapore, Indonesia, Thailand and Malaysia.
Political Development in Pacific Asia begins by examining the traditional forms of political culture which prevailed in Pacific Asia and which affected, in various ways, post-colonial political development in the region. Subsequent chapters examine the growth strategies pursued by high-performing economies of East Asia and the implications of rapid growth for democratization and civil society. The final chapter explores the place of these economies in a rapidly changing regional and international order.
While Jones gives due attention to the remarkable achievements of the high-performing economies of East Asia, he also addresses the social and political costs of this rapid, state-managed growth. The result is a balanced and nuanced account of political and economic development in Pacific Asia which will be invaluable for students and scholars alike.

Are your students baffled by Baudrillard? Dazed by Deleuze? Confused by Kristeva?

Other beginners' guides can feel as impenetrable as the original texts to students who "think in images."" Contemporary Thinkers Reframed" instead uses the language of the arts to explore the usefulness in practice of complex ideas.

Short, contemporary and accessible, these lively books utilize actual examples of artworks, films, television shows, works of architecture, fashion and even computer games to explain and explore the work of the most commonly taught thinkers. Conceived specifically for the visually-minded, the series will prove invaluable to students right across the visual arts.

Deleuze disdains easy answers. Yet easy answers to Deleuze are what students need. Without reducing Deleuze's complex body of thought to simplistic solutions, this very contemporary guide leads the reader into the world of Deleuze's spiralling thought through concrete examples from art, film, TV and even computer games. From "Eternal Sunshine of the Spotless Mind "and "The Cell" to "Pac Man" and "Doom," and from the work of Robert Mapplethorpe, Coco Fusco and Rachel Whiteread to "Lost" and "Doctor Who," this easily digestible introduction looks at the key ideas promoted by Deleuze, both in his own work and in his notoriously difficult collaborations with Felix Guattari, to make them both fresh and relevant to the visual arts today.

This title highlights the industries, markets, identities, and histories that distinguish cinema beyond the traditional hubs of mainstream Western cinema. From Iceland to Iran, from Singapore to Scotland, a growing intellectual and cultural wave of production is taking cinema beyond the borders of its place of origin - exploring faraway places, interacting with barely known peoples, and making new localities imaginable. In these films, previously entrenched spatial divisions no longer function as firmly fixed grid coordinates, the hierarchical position of place as 'center' is subverted, and new forms of representation become possible. In ""Cinema at the Periphery"", editors Dina Iordanova, David Martin-Jones, and Belen Vidal assemble criticism that explores issues of the periphery, including questions of transnationality, place, space, passage, and migration. ""Cinema at the Periphery"" examines the periphery in terms of locations, practices, methods, and themes. It includes geographic case studies of small national cinemas located at the global margins, like New Zealand and Scotland, but also of filmmaking that comes from peripheral cultures, like Palestinian 'stateless' cinema, Australian Aboriginal films, and cinema from Quebec. Therefore, the volume is divided into two key areas: industries and markets on the one hand, and identities and histories on the other. Yet as a whole, the contributors illustrate that the concept of 'periphery' is not fixed but is always changing according to patterns of industry, ideology, and taste. ""Cinema at the Periphery"" highlights the inextricable interrelationship that exists between production modes and circulation channels and the emerging narratives of histories and identities they enable. In the present era of globalization, this timely examination of the periphery will interest teachers and students of film and media studies.

This title brings Deleuze's writings on cinema into contact with world cinema, drawing on examples ranging from Georges Melies to Michael Mann. "Deleuze's Cinema books" continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. "Deleuze and World Cinemas" explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Melies to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.

A wide-ranging collection of essays on the film-philosophy of Gilles Deleuze Deleuze and Film explores how different films from around the world 'think' about a range of topics like history, national identity, geopolitics, ethics, gender, genre, affect, religion, surveillance culture, digital aesthetics and the body. Mapping the global diversity of this cinematic thinking, this book greatly expands upon the range of films discussed in Deleuze's Cinema books. Key Features * Analyses several Asian films: including Japan's most famous monster movie Godzilla, the colourful Thai western Tears of the Black Tiger, the South Korean road movie Traces of Love, and the Iranian comedy The Lizard * Discusses American film noir, recent European art films such as Red Road and The Lives of Others and Hollywood CGI Blockbusters including Hellboy and The Curious Case of Benjamin Button * Includes a dedicated chapter on the animated documentary Waltz with Bashir * Studies a host of different directors, from Rainer Werner Fassbinder to Baz Luhrmann

"Deleuze, Cinema and National Identity" challenges the traditional use of Deleuze's philosophy to examine European art cinema. It explores how Deleuze can be used to analyse national identity across a range of different cinemas. Focusing on narrative time it combines a Deleuzean approach with a vast range of non-traditional material. The films discussed are contemporary and popular (either financial or cult successes), and include "Eternal Sunshine of the Spotless Mind," "Terminator 3," "Memento," "Saving Private Ryan," "Run Lola Run," "Sliding Doors," "Chaos" and "Peppermint Candy," Each film is examined in light of a major historical event - including 9/11, German reunification, and the Asian economic crisis - and the impact it has had on individual nations. This cross-cultural approach illustrates how Deleuze's work can enhance our understanding of the construction of national identity. It also enables a critique of Deleuze's conclusions by examining his work in a variety of national contexts.

The book significantly broadens the field of work on Deleuze and cinema. It places equal emphasis on understanding mainstream North American genre films, American independent and European art films. It also examines Asian thrillers, gangster and art films in the light of Deleuze's work on time. With Asian films increasingly crossing over into western markets, this is a timely addition to the expanding body of work on Deleuze and film.

Key Features

* The first sustained analysis of Deleuze and national identity, bringing together film theory and film history.

* Examines how narrative time is used to construct national identity across a range of different cinemas, includingBritain, Germany, North America, Hong Kong, Japan, South Korea, Italy and Poland.

* Uses Deleuze in conjunction with a number of different types of recent film, from Hollywood blockbusters to Asian gangster movies.