The Cinema of the Precariat is the first book to lay out the incredible range of the precariat (the social class suffering from precarity) as well as a detailed report on the cinematic record of their work and lives.It discusses a thorough and definitive selection of more than 250 films and related visual media that take the measure of the precariat worldwide. For example, thousands of Haitians, including children, harvest sugar cane in the Dominican Republic (The Price of Sugar), while illegal Afghan refugees work in Iran (Delbaran). More familiar are the millions of Latino immigrants, legal or not, of all ages, that work in the United States (Food Chains). Each chapter focuses on a sub-class of the precariat or a contested zone of labor or the evolving political manifestation of the struggles of the unorganized and the dispossessed. Among the hundreds of bewildering film choices available nowadays this book offers the reader reliable guidance to the films bringing to life the economic, political, and social dilemmas faced by millions of the world's global workforce and their families.

This volume brings together renowned scholars and early career-researchers in mapping the ways in which European cinema —whether arthouse or mainstream, fictional or documentary, working with traditional or new media— engages with phenomena of precarity, poverty, and social exclusion. It compares how the filmic traditions of different countries reflect the socioeconomic conditions associated with precarity, and illuminates similarities in the iconography of precarious lives across cultures. While some of the contributions deal with the representations of marginalized minorities, others focus on work-related precarity or the depictions of downward mobility. Among other topics, the volume looks at how films grapple with gender inequality, intersectional struggle, discriminatory housing policies, and the specific problems of precarious youth. With its comparative approach to filmic representations of European precarity, this volume makes a major contribution to scholarship on precarity and the representation of social class in contemporary visual culture.

This book presents the new Precariat – the rapidly growing number of people facing lives of insecurity, on zero hours contracts, moving in and out of jobs that give little meaning to their lives. The delivery driver who brings your packages, the uber driver who gets you to work, the security guard at the mall, the carer looking after our elderly...these are The Precariat. Guy Standing investigates this new and growing group, finding a frustrated and angry new underclass who are often ignored by politicians and economists. The rise of zero hours contracts, encouraged by fat cat corporations as risk-free employment, and by silicon valley as a way of outsourcing costs and responsibility, has been exacerbated by the COVID pandemic. At the same time, in its experience of lockdown, the western world is realizing the true value of these nurses, carers and key workers. The answer? The return of income security and meaningful work - the principles 20th century capitalism was built on. By making the fears and desires of the Precariat central to economic thinking, Standing shows how concepts like Basic Income are not just desirable but inevitable, and plots the way to a better future.

Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.

An in-depth exploration of the stardom and authorship of Stephen Chow Sing-chi, one of Hong Kong cinema's most enduringly popular stars and among its most commercially successful directors. In the West, Stephen Chow is renowned as the ground-breaking director and star of global blockbusters such as Kung Fu Hustle (2004) and Shaolin Soccer (2001). Among Hong Kong audiences, Chow is celebrated as the leading purveyor of local comedy, popularising the so-called mo-lei-tau (“gibberish”) brand of Cantonese vernacular humour, and cultivating a style of madcap comedy that often masks a trenchant social commentary. This volume approaches Chow from a diverse range of critical perspectives. Each of the essays, written by a host of renowned international scholars, offers compelling new interpretations of familiar hits such as From Beijing with Love (1994) and Journey to the West (2013). The detailed case studies of seminal local and global movies provide overdue critical attention to Chow's filmmaking, highlighting the aesthetic power, economic significance, and cultural impact of his films in both domestic and global markets.

Epidemic cinema remains an enduring genre of contemporary film, ranging from medical dramas to post-apocalyptic thrillers. Using a vast filmography, Zaniello not only details the incredible variety of epidemics and their role in popular culture, but also demonstrates how epidemics, as a rule, have been confronted without proper preparation or deployment of resources in different forms of media. Therefore, Epidemic Films to Die For is the first and the only book that extensively analyzes the history and deployment of films and TV series towards a chronicle of epidemic films. In addition to providing an overview of how widespread disease and illness have been historically depicted via film and media, this book skillfully contextualizes the contemporary ongoing moment in which filmmakers and producers grapple with the cultural imaginary surrounding the COVID-19 pandemic.

The Routledge International Handbook of Working-Class Studies is a timely volume that provides an overview of this interdisciplinary field that emerged in the 1990s in the context of deindustrialization, the rise of the service economy, and economic and cultural globalization. The Handbook brings together scholars, teachers, activists, and organizers from across three continents to focus on the study of working-class peoples, cultures, and politics in all their complexity and diversity. The Handbook maps the current state of the field and presents a visionary agenda for future research by mingling the voices and perspectives of founding and emerging scholars. In addition to a framing Introduction and Conclusion written by the co-editors, the volume is divided into six sections: Methods and principles of research in working-class studies; Class and education; Work and community; Working-class cultures; Representations; and Activism and collective action. Each of the six sections opens with an overview that synthesizes research in the area and briefly summarizes each of the chapters in the section. Throughout the volume, contributors from various disciplines explore the ways in which experiences and understandings of class have shifted rapidly as a result of economic and cultural globalization, social and political changes, and global financial crises of the past two decades. Written in a clear and accessible style, the Handbook is a comprehensive interdisciplinary anthology for this young but maturing field, foregrounding transnational and intersectional perspectives on working-class people and issues and focusing on teaching and activism in addition to scholarly research. It is a valuable resource for activists, as well as working-class studies researchers and teachers across the social sciences, arts, and humanities, and it can also be used as a textbook for advanced undergraduate or graduate courses.