3 minute read
Goldsmiths Press
The politics of race in British screen culture, over the last thirty years, considered in the context of institutional, textual, cultural, and political shifts.
February 6 x 9, 256 pp. 20 illus.
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US $30.00T/$40.00 CAN paper
978-1-912685-63-9
Distributed for Goldsmiths Press
film | race studies
Black Film British Cinema II
edited by Clive Nwonka and Anamik Saha
This book considers the politics of race in British screen culture over the last thirty years, addressing the institutional, textual, cultural, and political shifts that have occurred during this period. An edited collection of essays by Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, and Natalie Wreyford, it offers a diverse range of responses from emerging and established scholars and practitioners. They explore these topics through the optics of film, TV, and moving image, from the perspectives of media and communications, sociology, politics, and cultural studies.
Clive Nwonka is a Research Fellow in Film Studies at the London School of Economics and Political Science. Anamik Saha is a Lecturer in the Department of Media and Communications and Co-convenor of the MA in Race, Media, and Social Justice at Goldsmiths, University of London.
Contributors Bidisha, Ashley Clark, Shelley Cobb, James Harvey, Melanie Hoyes, Maryam Jameela, Kara Keeling, Oslem Koskal, Rabz Lansiquot, Sarita Malik, Richard Martin, So Mayer, Alessandra Raengo, Richard T. Rodríguez, Tess S. Skadegård Thorsen, Natalie Wreyford
The Films of Laura Mulvey and Peter Wollen
Scripts, Working Documents, Interpretation edited by Oliver Fuke
An examination of Laura Mulvey and Peter Wollen’s independent and collaborative films and their intersections with feminism, film theory, and psychoanalysis.
This book examines renowned theorists Laura Mulvey and Peter Wollen’s independent and collaborative films, focusing how they intersect with feminism, film theory, and psychoanalysis. The aim of the volume is broadly threefold: to encourage further study of Mulvey and Wollen’s contributions to the theory and practice of experimental film; to draw attention to the value of their scripts as written texts; and to challenge the common misconception that their individual and collaborative filmmaking practices end at the close of the 1970s. The historical overview provided by Mulvey in her introduction underscores the sense that their individual and collaborative films were the result of sustained attempts to make political films under rapidly changing economic and political conditions.
Oliver Fuke is an independent researcher. His projects include Laura Mulvey and Peter Wollen: Beyond the Scorched Earth of Counter-Cinema and Yvonne Rainer: The Choreography of Film and Art at the Frontier of Film Theory.
April | 6 x 9 1/2, 304 pp. | 22 illus.
US $36.95T/$49.95 CAN cloth
978-1-912685-71-4
Distributed for Goldsmiths Press
Teklife, Ghettoville, Eski
The Sonic Ecologies of Black Music in the Early 21st Century Dhanveer Singh Brar
How Black electronic dance music makes it possible to reorganize life within the contemporary city.
Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban—ecologies that can never be reduced simply to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which, because of the music’s class character, makes it possible to reorganize life within the contemporary city. Closely analyzing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life.
Pushing the critical debates concerning the phonic materiality of Blackness, undercommons, and aesthetic sociality in new directions, Brar rethinks these concepts through concrete examples of contemporary Black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have—through their experiments in Blackness—generated genuine alternatives to the functioning of the city under financialized racial capitalism.
Dhanveer Singh Brar has published in journals such as Social Text, Darkmatter, and Cesura// Acceso and is a founding member of the London-based Black Study Group. He is Lecturer in Visual Cultures at Goldsmiths, University of London.
April | 6 x 9, 192 pp.
US $29.95T/$39.95 CAN cloth
978-1-912685-79-0
