The question Why do they hate us? is one of the most oft-cited puzzles of contemporary American affairs, yet it's not clear to whom they or us refers, nor even what hate means. In this bold new work, Ella Shohat and Robert Stam take apart the hate discourse of right-wing politics, placing it in an international context. How, for example, do other nations love themselves, and how is that love connected to their attitudes toward America? Is love of country monogamous or can one love many countries? When can a country's self-love be a symptom of self-hatred?

Drawing upon their extensive experience with South American, European, and Middle Eastern societies, the authors have written a long engagement with a problem that refuses to go away. Flagging Patriotism considers these complex features of being patriotic, and in so doing insists that the idea of patriotism, instead of being rejected or embraced, be accorded the complex identity it possesses.

Unthinking Eurocentrism, a seminal and award-winning work in postcolonial studies first published in 1994, explored Eurocentrism as an interlocking network of buried premises, embedded narratives, and submerged tropes that constituted a broadly shared epistemology. Within a transdisciplinary study, the authors argued that the debates about Eurocentrism and post/coloniality must be considered within a broad historical sweep that goes at least as far back as the various 1492s - the Inquisition, the Expulsion of Jews and Muslims, the Conquest of the Americas, and the Transatlantic slave trade - a process which culminates in the post-War attempts to radically decolonize global culture. Ranging over multiple geographies, the book deprovincialized media/cultural studies through a "polycentric" approach, while analysing in depth such issues as postcolonial hybridity, antinomies of Enlightenment, the tropes of empire, gender and rescue fantasies, the racial politics of casting, and the limitations of "positive image" analysis. The substantial new afterword in this 20th anniversary new edition brings these issues into the present by charting recent transformations of the intellectual debates, as terms such as the "transnational," the "commons," "indigeneity," and the "Red Atlantic" have come to the fore. The afterword also explores some cinematic trends such as "indigenous media" and "postcolonial adaptations" that have gained strength over the past two decades, along with others, such as Nollywood, that have emerged with startling force. Winner of the Katherine Kovacs Singer Best Film Book Award, the book has been translated in full or in its entirety into diverse languages from Spanish to Farsi. This expanded edition of a ground-breaking text proposes analytical grids relevant to a wide variety of fields including postcolonial studies, literary studies, anthropology, media studies, cultural studies, and critical race studies.

While the term "culture wars" often designates the heated arguments in the English-speaking world spiraling around race, the canon, and affirmative action, in fact these discussions have raged in diverse sites and languages. Race in Translation charts the transatlantic traffic of the debates within and between three zones--the U.S., France, and Brazil. Stam and Shohat trace the literal and figurative translation of these multidirectional intellectual debates, seen most recently in the emergence of postcolonial studies in France, and whiteness studies in Brazil. The authors also interrogate an ironic convergence whereby rightist politicians like Sarkozy and Cameron join hands with some leftist intellectuals like Benn Michaels, i ek, and Bourdieu in condemning "multiculturalism" and "identity politics." At once a report from various "fronts" in the culture wars, a mapping of the germane literatures, and an argument about methods of reading the cross-border movement of ideas, the book constitutes a major contribution to our understanding of the Diasporic and the Transnational."

The question "Why do they hate us?" is one of the most oft-cited puzzles of contemporary American affairs, yet it 's not clear to whom "they" or "us" refers, nor even what "hate" means. In this bold new work, Ella Shohat and Robert Stam take apart the "hate discourse" of right-wing politics, placing it in an international context. How, for example, do other nations love themselves, and how is that love connected to their attitudes toward America? Is love of country "monogamous" or can one love many countries? When can a country 's self-love be a symptom of self-hatred?

Drawing upon their extensive experience with South American, European, and Middle Eastern societies, the authors have written a long engagement with a problem that refuses to go away. Flagging Patriotism considers these complex features of "being patriotic," and in so doing insists that the idea of patriotism, instead of being rejected or embraced, be accorded the complex identity it possesses.

New Vocabularies in Film Semiotics provides a comprehensive lexicon of semiotic concepts. With sections on linguistics, narratology, psychoanalysis and intertextuality, it constructs an indispensable dictionary for film theory, defining over five hundred critical terms. The authors address key aspects of contemporary semiotics and cultural debate, while referring to the work of figures such as Pierce, Saussure, Derrida, Barthes, Propp, Genette, Greimas, Kristeva, Lacan, Metz, Bellour, Heath, Mulvey, Johnston, Rose, Doane, Bakhtin, and Baudrillard.
The semiotic concepts are illustrated by examples drawn from the films of directors such as Welles, Dreyer, Bunuel, Godard, Hitchcock, Varda, Akerman, and Woody Allen. Although especially geared to the needs of film students, New Vocabularies in Film Semiotics should be useful for scholars in all areas of the arts, philosophy, and literature.

Keywords offers a conversational journey through the overlying terrains of politically engaged art and artistically engaged politics, combining a major statement on subversive aesthetics, a survey of radical film strategies, and a lexicon of over a thousand terms and concepts. * No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative * Creates and illustrates over a thousand terms and concept, drawing its examples from a wide range of media * Provides a broad timespan, covering the very ancient (Ramayana, Aristotle) to the most current (digital mashups, memes) * Uniquely discusses the areas of film, television and the internet within one book * No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative

While the term "culture wars" often designates the heated arguments in the English-speaking world spiraling around race, the canon, and affirmative action, in fact these discussions have raged in diverse sites and languages. Race in Translation charts the transatlantic traffic of the debates within and between three zones--the U.S., France, and Brazil. Stam and Shohat trace the literal and figurative translation of these multidirectional intellectual debates, seen most recently in the emergence of postcolonial studies in France, and whiteness studies in Brazil. The authors also interrogate an ironic convergence whereby rightist politicians like Sarkozy and Cameron join hands with some leftist intellectuals like Benn Michaels, i ek, and Bourdieu in condemning "multiculturalism" and "identity politics." At once a report from various "fronts" in the culture wars, a mapping of the germane literatures, and an argument about methods of reading the cross-border movement of ideas, the book constitutes a major contribution to our understanding of the Diasporic and the Transnational."

With extraordinary transnational and transdisciplinary range, World Literature, Transnational Cinema, and Global Media comprehensively explores the genealogies, vocabularies, and concepts orienting the fields within literature, cinema, and media studies. Orchestrating a layered conversation between arts, disciplines, and media, Stam argues for their "mutual embeddedness" and their shared "in-between" territories. Rather than merely adding to the existing scholarship, the book builds a relational framework through the connectivities within literature, cinema, music, and media that opens up analysis to new categories and concepts, while crossing spatial, temporal, theoretical, disciplinary, and mediatic borders. The book also questions an array of hierarchies: literature over cinema; source novel over adaptation; feature film over documentary; erudite over vernacular culture; Western modernisms over "peripheral" modernisms; classical over popular music; written poetry over sung poetry, and so forth. The book is structured around the concept of the "commons," forming a strong thread which links various struggles against "enclosures" of all kinds, with emphasis on natural, indigenous, cultural, creative, digital, and the transdisciplinary commons. World Literature, Transnational Cinema, and Global Media is ideal to further the theoretical discussion for those undergraduate and graduate departments in cinema studies, media studies, arts and art history, communications, journalism, and new digital media programs at all levels.

With extraordinary transnational and transdisciplinary range, World Literature, Transnational Cinema, and Global Media comprehensively explores the genealogies, vocabularies, and concepts orienting the fields within literature, cinema, and media studies. Orchestrating a layered conversation between arts, disciplines, and media, Stam argues for their "mutual embeddedness" and their shared "in-between" territories. Rather than merely adding to the existing scholarship, the book builds a relational framework through the connectivities within literature, cinema, music, and media that opens up analysis to new categories and concepts, while crossing spatial, temporal, theoretical, disciplinary, and mediatic borders. The book also questions an array of hierarchies: literature over cinema; source novel over adaptation; feature film over documentary; erudite over vernacular culture; Western modernisms over "peripheral" modernisms; classical over popular music; written poetry over sung poetry, and so forth. The book is structured around the concept of the "commons," forming a strong thread which links various struggles against "enclosures" of all kinds, with emphasis on natural, indigenous, cultural, creative, digital, and the transdisciplinary commons. World Literature, Transnational Cinema, and Global Media is ideal to further the theoretical discussion for those undergraduate and graduate departments in cinema studies, media studies, arts and art history, communications, journalism, and new digital media programs at all levels.

Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy. Spanning national and transnational media in countries including the US, Brazil, Canada, France, Germany, and Italy, Stam orchestrates a dialogue between the western mediated gaze on the 'Indian' and the indigenous gaze itself, especially as incarnated in the burgeoning movement of "indigenous media," that is, the use of audio-visual-digital media for the social and cultural purposes of indigenous peoples themselves. Drawing on examples from cinema, literature, music, video, painting and stand-up comedy, Stam shows how indigenous artists, intellectuals and activists are responding to the multiple crises - climatological, economic, political, racial, and cultural - confronting the world.

Unthinking Eurocentrism, a seminal and award-winning work in postcolonial studies first published in 1994, explored Eurocentrism as an interlocking network of buried premises, embedded narratives, and submerged tropes that constituted a broadly shared epistemology. Within a transdisciplinary study, the authors argued that the debates about Eurocentrism and post/coloniality must be considered within a broad historical sweep that goes at least as far back as the various 1492s - the Inquisition, the Expulsion of Jews and Muslims, the Conquest of the Americas, and the Transatlantic slave trade - a process which culminates in the post-War attempts to radically decolonize global culture. Ranging over multiple geographies, the book deprovincialized media/cultural studies through a "polycentric" approach, while analysing in depth such issues as postcolonial hybridity, antinomies of Enlightenment, the tropes of empire, gender and rescue fantasies, the racial politics of casting, and the limitations of "positive image" analysis. The substantial new afterword in this 20th anniversary new edition brings these issues into the present by charting recent transformations of the intellectual debates, as terms such as the "transnational," the "commons," "indigeneity," and the "Red Atlantic" have come to the fore. The afterword also explores some cinematic trends such as "indigenous media" and "postcolonial adaptations" that have gained strength over the past two decades, along with others, such as Nollywood, that have emerged with startling force. Winner of the Katherine Kovacs Singer Best Film Book Award, the book has been translated in full or in its entirety into diverse languages from Spanish to Farsi. This expanded edition of a ground-breaking text proposes analytical grids relevant to a wide variety of fields including postcolonial studies, literary studies, anthropology, media studies, cultural studies, and critical race studies.

An indispensable lexicon for film theory, defining over 500 critical terms. It contains references to the work of key figures such as Peirce, Doane, Genette and Derrida and examples drawn from the films of directors like Welles and Hitchcock.

Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy. Spanning national and transnational media in countries including the US, Brazil, Canada, France, Germany, and Italy, Stam orchestrates a dialogue between the western mediated gaze on the 'Indian' and the indigenous gaze itself, especially as incarnated in the burgeoning movement of "indigenous media," that is, the use of audio-visual-digital media for the social and cultural purposes of indigenous peoples themselves. Drawing on examples from cinema, literature, music, video, painting and stand-up comedy, Stam shows how indigenous artists, intellectuals and activists are responding to the multiple crises - climatological, economic, political, racial, and cultural - confronting the world.

Keywords offers a conversational journey through the overlying terrains of politically engaged art and artistically engaged politics, combining a major statement on subversive aesthetics, a survey of radical film strategies, and a lexicon of over a thousand terms and concepts. * No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative * Creates and illustrates over a thousand terms and concept, drawing its examples from a wide range of media * Provides a broad timespan, covering the very ancient (Ramayana, Aristotle) to the most current (digital mashups, memes) * Uniquely discusses the areas of film, television and the internet within one book * No other book combines an ambitious essay on radical politics and aesthetics in film with a lexicon of terms and ideas, many of which are new and innovative

Reflexivity refers to those moments in fiction and film when the work suddenly calls attention to itself as a fictional construct. For example, in literature a character might suddenly step out of the story and address the reader. This study of reflexivity in film and literature pays special attention to "Don Quixote", one of the first such examples of reflexivity in the novel, and to Jean-Luc Godard and the nouvelle vague in cinema, where self-reflection prevailed. It examines the rise of modernism, the complicity of the reader-spectator in creating illusion and the production process in film. The discussion of film includes "Rear Window", "Tom Jones" and "The French Lieutenant's Woman".

From the documentary to the cinema novo and cannibalism, from Nelson Pereira dos Santos's Vidas Secas to music in the films of Glauber Rocha, this third, revised edition is a century-spanning introduction to the story of a medium that flourished in one of the most developed of 'underdeveloped' nations.

"Supple and sophisticated, Francois Truffaut and Friends tells an affecting story--several stories--and does so with verve."--Dudley Andrew, Professor of Comparative Literature and Film Studies, Yale University "An original and fascinating study that spins out from Truffaut's Jules and Jim to explore the world of literature, film, and avant-garde sexuality."--James Naremore, author of More Than Night: Film Noir and Its Contexts "A fascinating study. It won't be possible to watch Jules and Jim again without thinking of the complex layers of lived and imagined life that feed into Truffaut's classic film."--Annette Insdorf, author of Francois Truffaut One of Francois Truffaut's most poignantly memorable films, Jules and Jim, adapted a novel by the French writer Henri-Pierre Roche. The characters and events of the 1962 film were based on a real-life romantic triangle, begun in the summer of 1920, that involved Roche, the German-Jewish writer Franz Hessel, and his wife, the journalist Helen Grund. Drawing on Truffaut's Jules and Jim, Two English Girls, and The Man Who Loved Women, along with the various memoirs, journals, and novels written by the prototypes, Robert Stam provides the first in-depth examination of the multifaceted relationship between Truffaut and Roche. In the process, he provides a unique lens through which to examine transtextual adaptation across various genres and media. Truffaut's use of Roche's work, Stam suggests, demonstrates how adaptations can be more than simply copies of their originals; rather, they can be an immensely creative enterprise. The book moves beyond Truffaut's films to explore the intertwined lives and works of other famous artist/intellectual friends of the threesome, including Marcel Duchamp, Walter Benjamin, and Charlotte Wolff. Along the way, the book explores the aesthetics of flanerie, the sexual politics of bohemia, and the ethics of anti-semitism and homoeroticism. Robert Stam is University Professor at New York University. He has published widely on French and comparative literature, film, and theory.

El presente libro ofrece una historia exhaustiva de las teorias del cine durante el siglo XX. El texto recorre el camino que va desde teoricos del cine mudo como Vachel Lindsay y Hugo Munsterberg hasta los ultimos capitulos de la teoria cinematografica y los estudios culturales la teoria cognitiva, Deleuze, la teoria homosexual, la teoria poscolonial, la teoria digital y da cuenta de fenomenos desarrollados en paises como Francia, Alemania, Rusia, Italia, Gran Bretana, Estados Unidos, Mexico, Brasil y Argentina, siempre con el objetivo de poner de relieve los lazos de union existentes entre ellos. Contextualiza, asimismo, la teoria del cine dentro de corrientes historicas y filosoficas de caracter general. Y, para terminar, su lenguaje a la vez accesible y profundo hace de el una introduccion lucida y coherente a un terreno complejo y enormemente rico en matices.

On the current battlefield of cultural criticism and production, no term has been more vigorously contested than 'postmodernism'. Defying clear definition, yet persisting as an indispensable category, it has become one of the central topics in the theory and practice of contemporary culture. Postmodernism and Its Discontents collects some of the major theoretical statements in this debate, including the key intervention of Fredric Jameson, and pits them against original contributions by a range of younger writers who explore the terrain of postmodernism in a variety of cultural practices. Essays on poetry and punk culture, recent American fiction, rock videos, Hollywood and foreign film, and sports and soap operas complement more directly theoretical pieces which tackle, to repeat the title of one essay, 'what is at stake in the debate on postmodernism.' Above all, this collection is distinguished by its steadfast refusal to elide the determinate political issues posed by postmodernism. Each of the essays insists upon the materiality of cultural production, locating various post-modernist practices in the social conditions of contemporary life, including the overarching structures of gender and class.

Tropical Multiculturalism provides a major study of race in Brazilian culture through the most complete critical analysis of Brazilian cinema in any language. Focusing on representations of multicultural themes involving Euro- and Afro-Brazilians, other immigrants, and indigenous peoples in the rich tradition of Brazilian fictional feature film, Robert Stam puts Brazilian culture at the center of a wide-ranging analysis of race, representation, history, and film. Drawing parallels between the histories of colonialism, slavery, and immigration in Brazil and the United States, he also contends that questions of ethnic and racial representations are best viewed within the larger context of a comparative analysis of racially plural societies. Stam examines the broad historical and cultural links that connect Brazil and the United States before considering multicultural imagery in Brazilian film as it has changed from the silent era to the present. His analysis moves through the comic chanchadas of the 1930s and 1940s, to the Hollywood-style films from Sao Paulo in the 1950s, and the diverse phases of Cinema Novo beginning in the 1960s. He explores a wealth of subjects, including the submerged "blackness" of Carmen Miranda, the anti-racist agenda of Orson Welles's never-released Brazilian film It's All True, the international background behind Black Orpheus, the career of Grande Otelo (Brazil's greatest black film star), the allegorical "cannibalistic" films like How Tasty Was My Frenchman, and "indigenous media"-the attempt by Brazilian "indians" to use camcorders and VCRs for their own cultural and political purposes. Tropical Multiculturalism is simultaneously a history of Brazilian cinema from the standpoint of race, a history of Brazil itself through its cinematic representations, a comparative study of racial formations in Brazil and the United States, and a theorized analysis of racialized representations.

Subversive Pleasures offers the first extended application of Mikhail Bakhtin's critical methods to film, mass-media, and cultural studies. With extraordinary interdisciplinary and multicultural range, Robert Stam explores issues that include the "translinguistic" critique of Saussurean semiotics and Russian formalism, the question of language difference in the cinema, issues of national culture in Latin America, and "the carnivalesque" in literature and film. He discusses literary works by Rabelais, Shakespeare, and Jarry and treats films by Vigo, Bunuel, Wertmuller, Imamura, Mel Brooks, Monty Python, Marleen Gooris, and others. Now in paperback, Subversive Pleasures is a splendidly lucid introduction to the central concepts and analytical methods of Bakhtin and the Bakhtin circle.

Reflecting the burgeoning academic interest in issues of nation, race, gender, sexuality, and other axes of identity, Multiculturalism, Postcoloniality, and Transnational Media brings all of these concerns under the same umbrella, contending that these issues must be discussed in relation to each other. Communities, societies, nations, and even entire continents, the book suggests, exist not autonomously but rather in a densely woven web of connectedness. To explore this complexity, the editors have forged links between usually compartmentalized fields (especially media studies, literary theory, visual culture, and critical anthropology) and areas of inquiry-particularly postcolonial and diasporic studies and a diverse set of ethnic and area studies. This book, which links all these issues in suggestive ways, provides an indispensable guide for students and scholars in a wide variety of disciplines. Essays in this groundbreaking volume include Julianne Burton-Carvajal on ethnic identity in Lone Star; Manthia Diawara on diasporic documentary; Hamid Naficy on independent transnational film genres; Robyn Wiegman on whiteness studies; Faye Ginsburg on indigenous media; and Jennifer Gonzales on race in cyberspace; Ana M. Lopez on modernity and Latin American cinema; and Inderpal Grewal and Caren Kaplan on Warrior Marks and multiculturalism and globalization. A volume in the Depth of Field Series, edited by Charles Affron, Mirella Jona Affron, and Robert Lyons Ella Shohat is a professor of cultural studies at New York University. Her books include Israeli Cinema, Dangerous Liaisons, and Talking Visions. Robert Stam has been named University Professor at New York University. He is the author of over ten books on film and cultural studies. Together, Shohat and Stam authored the award-winning Unthinking Eurocentrism: Multiculturalism and the Media.