LITMIR.BIZ

<P>A cigar-chomping storyteller who signaled «Action!» by shooting a gun, Samuel Fuller has been lionized as one of the most distinctive writer/directors ever to emerge from Hollywood. In such films as The Steel Helmet, Pickup on South Street, Shock Corridor, and The Big Red One, Fuller gleefully challenged classical and generic norms—and often standards of good taste—in an effort to shock and arouse audiences. Tackling war, crime, race, and sexuality with a candor rare for any period, Fuller's maverick vision was tested by Hollywood's transition from the studio system to independent filmmaking. Now, in the first full account of all of the director's audaciously original work, author Lisa Dombrowski brings his career into new relief. The Films of Samuel Fuller features close analysis of Fuller's pictures and draws on previously untapped production and regulatory files, script notes, and interviews to explore how artistic, economic, and industrial factors impacted Fuller's career choices and shaped the expression of his personal aesthetic. Fans of Fuller and American cinema will welcome this in-depth study of a provocative director who embodied both the unique opportunities and challenges of postwar filmmaking.</P>

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In the 1940s, it was 16 mm film. In the 1980s, it was handheld video cameras. Today, it is cell phones and social media. Activists have always found ways to use the media du jour for quick and widespread distribution. InsUrgent Media from the Front  takes a look at activist media practices in the 21st century and sheds light on what it means to enact change using different media of the past and present. Chris Robé and Stephen Charbonneau's edited collection uses the term «insUrgent media» to highlight the ways grassroots media activists challenged and are challenging hegemonic norms like colonialism, patriarchy, imperialism, classism, and heteronormativity. Additionally, the term is used to convey the sense of urgency that defines media activism. Unlike slower traditional media, activist media has historically sacrificed aesthetics for immediacy. Consequently, this «run and gun» method of capturing content has shaped the way activist media looks throughout history.With chapters focused on indigenous resistance, community media, and the use of media as activism throughout US history,  InsUrgent Media from the Front emphasizes the wide reach media activism has had over time. Visibility is not enough when it comes to media activism, and the contributors provide examples of how to refocus the field not only to be an activist but to study activism as well.

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Standing apart from celebrated Iranian ideals of war and martyrdom, revolutionary filmmaker Abbas Kiarostami was known as a man who praised life and celebrated it in all his works. Creating films for more than 40 years during times of unending war and political turmoil, Kiarostami promoted the Sufi tradition of seeing God as part of nature and the pre-Islamic Zoroastrian ideal of environmental protection.Kiarostami’s self-image as a citizen of the world, his renunciation of war, and his concern for the future of nature cement his importance within the art form of poetic cinema. Addressing Kiarostami’s illumination of humanity’s self-destructive tendencies, author Julian Rice presents a detailed analysis of twelve individual films, from Homework (1989) to Like Someone in Love (2012). Departing from concerns of spectatorship or film in general, Rice’s book portrays the human and spiritual core of Kiarostami. Connected to all other humans and to the earth we all inhabit, Kiarostami’s vision remains a powerful message for film scholars and peaceful people everywhere.

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It is said that the ontology of data resists slowness and also that the digital revolution promised a levelling of the playing field. Both theories are examined in this timely collection of chapters looking at time in the digital world. Since data has assumed such a paramount place in the modern neoliberal world, contemporary concepts of time have undergone radical transformation. By critically assessing the emerging initiatives of slowing down in the digital age, this book investigates the role of the digital in ultimately reinforcing neo-liberal temporalities. It shows that both "speed-up" and "slow down" imperatives often function as a form of biopolitical social control necessary to contemporary global capitalism. Problematic paradoxes emerge where a successful slow down and digital detox ultimately are only successful if the individual returns to the world as a more productive, labouring neoliberal subject. Is there another way? The chapters in this collection, broken up into three parts, ask that question.

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The definitive reference work with comprehensive analysis and review of peer production Peer production is no longer the sole domain of small groups of technical or academic elites. The internet has enabled millions of people to collectively produce, revise, and distribute everything from computer operating systems and applications to encyclopedia articles and film and television databases. Today, peer production has branched out to include wireless networks, online currencies, biohacking, and peer-to-peer urbanism, amongst others. The Handbook of Peer Production outlines central concepts, examines current and emerging areas of application, and analyzes the forms and principles of cooperation that continue to impact multiple areas of production and sociality. Featuring contributions from an international team of experts in the field, this landmark work maps the origins and manifestations of peer production, discusses the factors and conditions that are enabling, advancing, and co-opting peer production, and considers its current impact and potential consequences for the social order. Detailed chapters address the governance, political economy, and cultures of peer production, user motivations, social rules and norms, the role of peer production in social change and activism, and much more. Filling a gap in available literature as the only extensive overview of peer production’s modes of generating informational goods and services, this groundbreaking volume: Offers accessible, up-to-date information to both specialists and non-specialists across academia, industry, journalism, and public advocacy Includes interviews with leading practitioners discussing the future of peer production Discusses the history, traditions, key debates, and pioneers of peer production Explores technologies for peer production, openness and licensing, peer learning, open design and manufacturing, and free and open-source software The Handbook of Peer Production is an indispensable resource for students, instructors, researchers, and professionals working in fields including communication studies, science and technology studies, sociology, and management studies, as well as those interested in the network information economy, the public domain, and new forms of organization and networking.

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An inquiry into what we can know in an age of surveillance and algorithms Knitting together contemporary technologies of datafication to reveal a broader, underlying shift in what counts as knowledge, Technologies of Speculation reframes today’s major moral and political controversies around algorithms and artificial intelligence. How many times we toss and turn in our sleep, our voluminous social media activity and location data, our average resting heart rate and body temperature: new technologies of state and self-surveillance promise to re-enlighten the black boxes of our bodies and minds. But Sun-ha Hong suggests that the burden to know and to digest this information at alarming rates is stripping away the liberal subject that ‘knows for themselves’, and risks undermining the pursuit of a rational public. What we choose to track, and what kind of data is extracted from us, shapes a society in which my own experience and sensation is increasingly overruled by data-driven systems. From the rapidly growing Quantified Self community to large-scale dragnet data collection in the name of counter-terrorism and drone warfare, Hong argues that data’s promise of objective truth results in new cultures of speculation. In his analysis of the Snowden affair, Hong demonstrates an entirely new way of thinking through what we could know, and the political and philosophical stakes of the belief that data equates to knowledge. When we simply cannot process all the data at our fingertips, he argues, we look past the inconvenient and the complicated to favor the comprehensible. In the process, racial stereotypes and other longstanding prejudices re-enter our newest technologies by the back door. Hong reveals the moral and philosophical equations embedded into the algorithmic eye that now follows us all.

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