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Substantial Justice
Papua New Guinea's village court system was introduced in 1974, partly in an effort to overcome the legal, geographical, and social distance between village societies and the country's formal courts. There are now more than 1100 village courts all over PNG, hearing thousands of cases each week. This anthropological study is grounded in ethnographic research on three different village courts and the communities they serve. It also explores the colonial historical background to the establishment of the village court system, and the local and global processes influencing the efforts of village courts to deal with everyday disputes among grassroots Melanesians.
Out of Place
The Kakoli of the Western Highlands of Papua New Guinea (PNG), the focus of this study, did not traditionally have a concept of mental illness. They classified madness according to social behaviour, not mental pathology. Moreover, their conception of the person did not recognise the same physical and mental categories that inform Western medical science, and psychiatry in particular was not officially introduced to PNG until the late 1950s. Its practitioners claimed that it could adequately accommodate the cultural variation among Melanesian societies. This book compares the intent and practice of transcultural psychiatry with Kakoli interpretations of, and responses to, madness, showing the reasons for their occasional recourse to psychiatric services. Episodes involving madness, as defined by the Kakoli themselves, are described in order to offer a context for the historical lifeworld and praxis of the community and raise fundamental questions about whether a culturally sensitive psychiatry is possible in the Melanesian context.
Guerrilla Networks
2. Armed Guerrilla Media Ecologies from Latin America to Europe -- Introduction: Contra 'Mass Mediated Terrorism' -- Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America -- Brigate Rosse and Armed Struggle in Italy -- The 'Baader Meinhof Complex' and the June 2nd Movement -- Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army -- 3. Autonomy Movements, the Nexus of 1977, and Free Radio -- Introduction: Radical Politics, Bifurcations, and the Event -- Italian Workerism and Autonomia -- 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk -- Rebellious Radio from Marconi to Free Radios -- Me...
Reverberations
A groundbreaking collection that studies noise not merely as a sonic phenomenon but as an essential component of all communication and information systems.
Resonances
A groundbreaking collection of essays, proposing new frameworks for the discussion of noise - from postpunk to showgaze and beyond.
Los Angeles Magazine
Los Angeles magazine is a regional magazine of national stature. Our combination of award-winning feature writing, investigative reporting, service journalism, and design covers the people, lifestyle, culture, entertainment, fashion, art and architecture, and news that define Southern California. Started in the spring of 1961, Los Angeles magazine has been addressing the needs and interests of our region for 48 years. The magazine continues to be the definitive resource for an affluent population that is intensely interested in a lifestyle that is uniquely Southern Californian.
Mark E. Smith and The Fall: Art, Music and Politics
This volume offers a comprehensive range of approaches to the work of Mark E. Smith and his band The Fall in relation to music, art and politics. Mark E. Smith remains one of the most divisive and idiosyncratic figures in popular music after a recording career with The Fall that spans thirty years. Although The Fall were originally associated with the contemporaneous punk explosion, from the beginning they pursued a highly original vision of what was possible in the sphere of popular music. While other punk bands burned out after a few years, only to then reform decades later as their own cover bands, The Fall continue to evolve while retaining a remarkable consistency, even with the frequen...
The Cinema of Raúl Ruiz
Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work—with its surrealist, magic realist, popular cultural, and neo-Baroque sources—as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.
Jean-Luc Godard, Cinema Historian
Originally released as a videographic experiment in film history, Jean-Luc Godard's Histoire(s) du cinéma has pioneered how we think about and narrate cinema history, and in how history is taught through cinema. In this stunningly illustrated volume, Michael Witt explores Godard's landmark work as both a specimen of an artist's vision and a philosophical statement on the history of film. Witt contextualizes Godard's theories and approaches to historiography and provides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.
Music/Video
This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the ...
