In Cinema at the Crossroads: Nation and the Subject in East Asian Cinema, Hyon Joo Yoo argues that East Asian experiences of colonialism and postcolonialism call for a different conceptualization of postcoloniality, subjectivity, and the nation. Through its analyses of Japanese, Korean, and Taiwanese cinemas, this engaging study of cinema and culture charts the ways in which national cinemas visualize colonial and postcolonial conditions that derive from the history of Japanese colonialism and the post-war alliance between Japan and the United States. What does it mean to rethink postcolonial studies through East Asian cinema and experience? Yoo pursues this question by bringing an East Asian postcolonial framework, the notion of film as a manifestation of national culture, and the methodology of psychoanalysis to bear on a failed hegemonic subject. Cinema at the Crossroads is a profound look into how cinema and national culture intertwine with hegemony and power.

How did the US South contribute to the development of film? And how did film shape the modern South? In Fade In, Crossroads, Robert Jackson tells the story of the relationships between southerners and motion pictures from the silent era through the golden age of Hollywood. Jackson reveals the profound consequences of the coincidence of the rise and fall of the American film industry with the rise and fall of the South's most important modern product and export: Jim Crow segregation. He considers southern historical legacies on film, from popular Civil War films and comparably popular lynching films emerging in a time of prolific lynching in the South, to the resilient race film industry whose African American filmmakers forged an independent cinematic movement in defiance of the racial restrictions of both the South and Hollywood. He also traces the influence of film on future participants in the Civil Rights Movement, from prominent leaders such as Martin Luther King and Thurgood Marshall to film-industry veterans like Lena Horne and Paul Robeson to the millions of ordinary people, black and white, who found themselves caught up in the struggle for racial equality in the modern United States.

An array of leading Democrats, Republicans, and independent thinkers provide a road map for America's political future. America is at a turning point. For the first time in history, the United States is the world's lone superpower--in Andrew Cuomo's words, "both the tamer and target of an unstable world." New technology and the omnipresent media have transformed the way we do everything, from amassing wealth to practicing politics. Simultaneously, the U.S. economy is in a shambles, with the largest federal budget deficit in our history. The coming octogenarian boom promises to put the greatest strain on federal government resources the United States has ever known, and America is faced with new security threats and diplomatic crises daily. The success of our nation in the coming decades will depend on how our elected leaders respond to these challenges. Can the Democrats, divided and ineffectual since well before the crushing defeats of 2002, revitalize their agenda, forge a meaningful message, and end the Republican stranglehold on the federal government? Can Republicans, fresh from new victories, build on their successes? And how will a younger generation, largely alienated from both parties but often intensely political, articulate its desires in the years ahead? The writers invited by Andrew Cuomo to contribute to this landmark book, a who's who of American leadership, address these and other pressing questions of our political life. At once a diagnosis and a call to arms, Crossroads will set the terms of political debate as America moves forward.

Until his early retirement at age 50, Hasse Ekman was one of the leading lights of Swedish cinema, an actor, writer, and director of prodigious talents. Yet today his work is virtually unknown outside of Sweden, eclipsed by the filmography of his occasional collaborator (and frequent rival) Ingmar Bergman. This comprehensive introduction—the first ever in English—follows Ekman’s career from his early days as a film journalist, through landmark films such as Girl with Hyacinths (1950), to his retirement amid exhaustion and disillusionment. Combining historical context with insightful analyses of Ekman’s styles and themes, this long overdue study considerably enriches our understanding of Swedish film history.