Since the late nineteenth century, various agencies of the U.S. government have developed elaborate bureaucratic procedures to manage "suspect" Asian groups. Ju Yon Kim explores the modes of engagement and contestation available to those who are subjected by the state to both relentless documentation and demands to perform-whether as lawful immigrants, obedient colonial subjects, or loyal Americans. Even as paper documentation has been critical to authorizing exclusion, surveillance, and incarceration by the state, it has also enabled performances with paper that have facilitated transnational passage, mobilized resistance to administration, and troubled the logic of racial and national classifications.

Linking histories of Chinese immigration exclusion, the U.S. colonization of the Philippines, the internment of Japanese Americans, and FBI surveillance of political groups, Kim brings together studies of paperwork and performance to demonstrate their continued, intertwined impact on Asian American history and culture.

Facing persistent exploitation, discrimination, and marginalization in the second half of the twentieth century, generations of Puerto Rican organizers and activists drew on multiple competing versions of nationalism to challenge the racial order in Chicago, one of America's most segregated cities. Initially, both supporters and opponents of Puerto Rican independence promoted the assimilation of fellow migrants as white citizens. The three-night-long Division Street Riots marked a fundamental pivot point in 1966, ending the pursuit of whiteness and opening the door to waves of nationalist militancy during the 1970s. By the 1980s and 1990s, Puerto Rican nationalists in Chicago had entered electoral politics, building a broader notion of Latinidad even as they softened its radical edges.

Drawing on an extraordinary array of archival material, much of it previously inaccessible, Michael?Staudenmaier?highlights cultural and political projects profoundly informed by nationalist sentiments, from beauty pageants and parades to protests and bombings to elections and legal battles. Revealing how nationalism became a key site of racial formation for Puerto Ricans in Chicago, White, Black, Brown shows how they understood themselves and demanded to be seen by their neighbors and the world.

Born into slavery in free territory, Joseph Godfrey died widely reviled for his controversial role in the U.S.-Dakota War of 1862. Separated from his mother at age five when his enslaver sold her, Godfrey sought refuge in his teens among the Dakota people he had befriended as a child. Godfrey married a Dakota woman and was living with his family on the Lower Sioux Reservation in 1862, when the U.S.-Dakota War broke out. Pressured to join Dakota warriors in the war's opening days, when the six-week conflict ended, he became the first of hundreds of men tried by a military court created by Commander Henry Sibley. Sibley, who was one of Godfrey's former enslavers, approved death sentences for Godfrey and 302 other Dakota soldiers.

In this riveting biography, Walt Bachman untangles the thorny questions that haunt Godfrey's story: How was he enslaved in a free state? Did he murder the frontier settlers for which the Dakota dubbed him Otakle ("Many Kills")? Did he turn traitor to save his own life? Did Godfrey's testimony send thirty-eight Dakota men, including his father-in-law, to the gallows? In this carefully researched book, Bachman argues that the 1862 war trials, which ended with the largest mass execution in U.S. history, were both more just and more unfair than we have ever understood.

In den ersten Jahrhunderten nach der Zeitenwende stellte das Reich der Koenige von Aksum, gelegen im Hochland des heutigen Aethiopiens, einen bedeutenden Machtfaktor im Raum des Roten Meeres dar. Wirtschaftliche Kontakte verbanden es mit dem roemisch dominierten Mittelmeerraum, waehrend sich der militaerische Aktionsradius seiner Machthaber bis nach Suedarabien und in den Sudan erstreckte. Die Ausdehnung an die Kueste fuehrte zudem zum Zugriff auf eine der Haupthandelsrouten nach Indien. Die Koenige von Aksum setzten teils griechische Inschriften, emittierten Muenzen mit griechischen Legenden und gingen um die Mitte des vierten Jahrhunderts zum Christentum ueber.

In den Altertumswissenschaften bislang haeufig allenfalls als peripheres Gebiet verstanden, rueckt die Studie von Niklas Bend diese einzigartige Kultur der Spaetantike ins Zentrum, betrachtet dabei historische, kulturelle, soziale und religionsgeschichtliche Entwicklungslinien und analysiert diese vor dem Hintergrund eines Paradigmenwechsels in Bezug auf die genannte Epoche.

Affect as Cultural Critique assembles leading anthropologists, affect theorists, and artist-activist scholars to ask, what if the most constructive response to moments of ethnographic puzzlement was not the formulation of an answer but the cultivation of a feeling? What if understanding the powerful effects of discourses requires somatic rather than semiotic exercises? And where habits of academic professionalism prohibit experiencing possible worlds - what if anthropology as a discipline could leverage affect to differently connect and cultivate collaboration with others?

In line with growing movements to decolonize the academy, the essays in Affect as Cultural Critique feature ethnographic accounts of people actively describing, experimenting with, and otherwise exercising affect in ways that challenge the academy's inherited models for analyzing emotional life. Through an experimental collection of traditional ethnographic essays and artist-activist-generated critiques, this volume explores how everyday modes of feeling function as methods of knowing. By centering non-academic and non-Western affective practices as answers to traditional theoretical problems generated primarily by Western theorists, Affect as Cultural Critique seeks new trajectories for the discipline through a rediscovery of discovery itself as a guiding professional aim, as methodological inspiration, and as a source of reflexive critique of the discipline's philosophical and theory-heavy analytics.

Wage work was supposed to "kill the Indian and save the man," or so thought Richard Pratt and other late nineteenth-century policymakers. Nevertheless, even as American Indians entered the workforce, they remained connected to their lands and cultures. In this powerful history of resilience and transformation, Colleen O'Neill uncovers the creative strategies Native workers employed to subvert assimilation and fight for justice in the workplace, their collective strength expanding the very meaning of sovereignty.

Drawing on federal archives, Native memoirs, oral histories, and field research, O'Neill traces a sweeping story that stretches from the era of boarding schools to the contemporary world of high-stakes gaming. For more than a century, federal policymakers tried to reshape Native lives through labor. In some cases, children were sent to pick crops and scrub settlers' homes. In others, families were relocated to distant cities for permanent year-round jobs that were designed to replace traditional seasonal labor and lifestyle patterns. But Native workers persevered. They rebuilt their communities, fought to reclaim control of the reservation workplace, and developed distinctive institutions to defend their cultural, political, and economic sovereignty. As Waging Sovereignty illuminates, wage work was a focal point of assimilationist efforts and, in turn, labor became a key factor in Native workers' anti-colonial struggle.

The Craft of Belonging explores the role of craft and its mediation of social boundaries, particularly in communities that are under state pressure. Anthropologists Matthew Magnani and Natalia Magnani blend anthropology and archaeology to explore the role of craft in community-making from prehistory to present with the Sami, the Indigenous peoples of Northern Europe. Sapmi, the Sami homeland, has sat at a material crossroads for millennia. Forests, tundras, and extended social networks offered raw materials autochthonous and imported. Wood, antler, cloth, and silver were crafted to cope with Arctic climates and state incursions. Integrating archaeological, ethnographic and Indigenous perspectives to reveal the transformative nature of material culture, The Craft of Belonging shows how long-term perspectives accentuate the shifting meanings and malleability of material social boundaries. Local agencies intersect with changing trade networks, colonialism and climate change, to resonate through the production, uses and signals of Sami craft (duodji). This book thus contends that ancestral material cultures, far from static cultural domains, are innovative sites of social transformation used to assert rights to land, water, and community belonging.

Crisis in a Tweet explores the alarming reality that a single social media post can unleash severe consequences for individuals and organizations alike.

Unlike traditional emergencies caused by natural disasters or product failures, social media upheaval originates in the digital realm but leads to real world consequences - job losses, reputational harm, and public shame - disproportionate to the original act. This book provides a comprehensive analysis of how social media platforms serve not just as communication tools but as environments for the emergence of crises. Drawing on case studies from platforms like X, Facebook, and YouTube, this book outlines a fundamental shift in media ecology, where everyday digital interactions become amplified into firestorms. It investigates key drivers of this trend, including the democratization of crisis creation, the amplified effects of online mobs, and the rise of partisan communities weaponizing outrage.

From the unearthing of old posts to viral hashtag movements fueling global reputational attacks, this book explains how digital crises differ from traditional ones and why society assigns them outsized significance. Rather than advocating for more regulation and prevention, Crisis in a Tweet calls for a cultural shift in how we perceive and respond to online controversies.

Black Identities and Media in the Twenty-First Century presents original scholarly essays, drawn from a range of theory-based applications and methodologies, that analyze media representations, effects, and practices relating to Black communities and their varying identities, with particular attention to attributes such as gender, sexuality, class, and ability status. By surveying newsprint, television, social media, podcasts, and more, this innovative collection explores intersections of identities and perspectives while centering the role of Black media creators, including producers, journalists, and influencers, to highlight Black representation across genres of mass media.

With a commitment to elevating marginalized voices, Black Identities and Media in the Twenty-First Century advocates for the historical, present, and future value of Black media creators as intellectuals, workers, innovators, thought brokers, and champions of change in the United States.

Revised and updated edition of the groundbreaking book on Black women in comic art

The 2018 release of Marvel's blockbuster Black Panther film catapulted African American comics and animation into the limelight, with strong Black women characters at the forefront. Black Women in Sequence showcases the deep history of women of African descent in comics subculture. From the 1971 appearance of the Skywald Publications character "the Butterfly" - the first Black female superheroine in a comic book - to contemporary comic books, graphic novels, film, manga, and video gaming, a growing number of Black women are becoming producers, viewers, and subjects of sequential art.

As the first detailed investigation of Black women's participation in comic art, Black Women in Sequence, first published in 2015, examines the representation, production, and transnational circulation of women of African descent in the sequential art world. This new edition features additional interviews, updates, and a new chapter on the wave of Black female characters that appeared in TV immediately before and following Black Panther's success. An essential read for understanding the dynamics of race and gender in American comics, Black Women in Sequence demonstrates why narratives about women of African descent should and do matter to the comic book world and to writers, artists, fans, and readers.

Praise for the first edition

"Engaging and provocative, Black Women in Sequence is relevant not only to comic scholars, but to anyone with an interest in how difference is represented using visual rhetoric." - Feminist Media Studies

"For every little Black girl and Black woman, who imagine themselves coloring both inside and outside the lines, Black Women in Sequence literally fills in the blank spaces, highlighting the contributions of Black Women in the genres of comics, graphic novels, and anime." -Mark Anthony Neal, author of Looking for Leroy: Illegible Black Masculinities

In 1925 the publishers of Broadway Brevities were tried for running an extortion operation targeting New York's social and cultural elites. While the first version of the magazine whispered gossip in columnists' suggestive innuendo, later incarnations shouted bold accusations in graphic tabloid headlines. On the pages of Broadway Brevities gossip was instrumentalized and urbanized, taking its place among the noisy, sensational features of city life.

The life of the magazine's long-time editor, Canadian-born Stephen G. Clow, runs through this story, connecting the different incarnations of the magazine and the circles in which they were published (in New York, 1917-34, and later in Toronto). Clow's career took him from Manhattan's literary world, in his role as a critic and book publisher, to notoriety as a scandal-mongering editor. Beginning in the 1920s Clow gathered - or fabricated - allegations about high-profile people in theatre, cinema, and enterprise, then threatened to publish unless they paid up. Clow would brag to Time magazine that he was "the most famous and wicked blackmailer in world history." Broadway Brevities became infamous for sensational, vicious, and lurid coverage of gay life. Despite its mocking homophobia, Will Straw shows, the magazine can today help reconstitute the spaces and places of historical queer life in New York.

Drawing on a singular collection of Brevities issues discovered over decades of research, Nights in Fairyland is a rich account of an overlooked form of periodical publishing and of urban nightlife, queer sociability, and the commodification of gossip in the 1920s and 1930s.

Is privilege a problem? Scandinavians ask, Is this okay?-and wrestle with the answerA twenty-first century paradox has emerged in contemporary Scandinavian societies: the region's deeply ingrained egalitarian ideals exist uneasily alongside its undeniable global privilege. In The Predicament of Privilege, Devika Sharma examines this tension, exploring how a well-intentioned desire to "do good" collides with an unsettling realization: the very structures that enable ethical consumption, charitable donations, and humanitarian action are themselves embedded in a system of exploitation.

Through an incisive analysis of contemporary Scandinavian cultural texts, The Predicament of Privilege introduces the concept of skeptimentality-a pervasive moral ambivalence about virtuous emotions like compassion and generosity. As Sharma demonstrates, this sentiment does not necessarily lead to action but creates a vacuum, leaving privilege-sensitive publics with a crisis of conscience but no clear path forward. Sharma's book challenges both the self-image of Nordic societies and the broader assumptions of humanitarian ethics. A necessary read for scholars, cultural critics, and anyone engaging with the politics of privilege, this book offers a bold new perspective on the unfinished business of equality.

Situates the remake as one of the primary responses to Bollywood's globalization and corporatization.

Focused on post-1990 Bollywood remakes of Hollywood films, Deja Viewed tells a larger story of the rapidly changing Indian film industry in the wake of globalization and corporatization. It situates the remake as a gendered response to these changes, drawing on approaches from film theory, gender studies, and cultural studies. The book looks at films from a variety of genres and modes, including the Bollywood family film, romantic comedy, noir, and melodrama, and each film's close analysis is accompanied by attention to concerns related to remake theory, such as homage, anxiety of influence, defamiliarization, and pastiche. Seeking to historicize how gender and genres become translated and transformed in the Bollywood remake, the book contributes to transnational understandings of gender and genre as media texts move across various borders-geographic, cinematic, economic, and aesthetic.

Since the year 2000, Quebec's film industry has burgeoned with a parabolic increase in the number of films released and the production of a wide array of film genres. Building on the notion of 'Quebec national cinema' outlined by Bill Marshall, this book analyses French-language fiction features that construct images of the past.

Scholar of Quebec cultural studies, Amy J. Ransom, explains how the studied films participate in the nation's 'historical imaginary', revisiting and revisioning the past for present-day audiences and constructing new 'sites of memory' for twenty-first-century Quebecois viewers. Each chapter examines a film genre explicitly engaged in representing the past: the historical film per se, the historical fantasy, the literary adaptation, the biopic and memoir, and the period film. The Historical Imaginary offers analyses of significant films and filmmakers while also providing a broader overview of these genres' development in Quebec. From examining rigorous historical documents like Le 15 fevrier, 1839 (2001) to quirky fantasies like Je me souviens (2009), and from the heritage films Nouvelle France (2004) and Maria Chapdaleine (2021) to the biopics Louis Cyr, l'homme le plus fort du monde (2013) and La Bolduc (2018), Ransom's analyses travel across time, space, and genres.

In this insightful cultural investigation, three generations of filmmakers are brought together to highlight their influence upon the construction of a Quebecois national identity.

This book is about how twenty-first century capitalism is re-making the roles of customer and customer service provider, shedding light on why consumer capitalism has come to feel so punishing for so many. In call centers, banks, airports, universities, public transport systems, hospitals, and other key sites, the intensification of profit imperatives alongside hyper-technologization has generated an "antagonistic interface" between customers and workers. Consumers widely report feeling trapped in the vise-like grip of frustrating and confounding systems that waste significant amounts of time.

Positioning the poorly served customer as the definitional figure of 21st century commercial relations, Diane Negra articulates a new corporate authoritarianism that allocates a broad range of digital tasks to customers. Essential to this apportionment are technology platforms with high failure rates, corporate devotion to byzantine bureaucratic procedures, and the conspicuous, constant valuing of high-status customers over low-status ones. Compliance with new stripped-down service protocols is enforced not only directly but through powerful norms and customs, and affective culture is notable for converting service encounters into transactions routinely characterized by frustration, impotence, and fury. In analyzing the service ecology and its media representations, I'm Sorry You Feel That Way reveals how the shift to customer work is now both totalized and thoroughly naturalized. As the book maps out, the changing nature of the service encounter in day-to-day life and in the cultural imagination reveal the emergence of corporate emotions seldom recognized as the assault on dignity they constitute.