To succeed in foreign policy, U.S. presidents have to sell their versions or framings of political events to the news media and to the public. But since the end of the Cold War, journalists have increasingly resisted presidential views, even offering their own spin on events. What, then, determines whether the media will accept or reject the White House perspective? And what consequences does this new media environment have for policymaking and public opinion? To answer these questions, Robert M. Entman develops a powerful new model of how media framing works—a model that allows him to explain why the media cheered American victories over small-time dictators in Grenada and Panama but barely noticed the success of far more difficult missions in Haiti and Kosovo. Discussing the practical implications of his model, Entman also suggests ways to more effectively encourage the exchange of ideas between the government and the media and between the media and the public. His book will be an essential guide for political scientists, students of the media, and anyone interested in the increasingly influential role of the media in foreign policy.

Why is Europe at the top half of maps and Africa at the bottom? Although we are accustomed to that convention, it is, in fact, a politically motivated, almost entirely subjective way of depicting a ball spinning in space. As The Power of Projections teaches us, maps do not portray reality, only interpretations of it. To begin with, they are two-dimensional projections of a three-dimensional, spherical Earth. Add to that the fact that every map is made for a purpose and its design tends to reflect that purpose. Finally, a map is often a psychological projection of the historical, political, and cultural values of the cartographer—or of the nation, person or organization for which the map was created. In this fascinating book, Klinghoffer examines the world perceptions of various civilizations and the ways in which maps have been formulated to serve the agendas of cartographers and their patrons. He analyzes the recent decline of sovereignty, the spread of globalization, the reassertion of ethnic identity, and how these trends affect contemporary mapmaking.

Throughout its history, the United States has been both imperialistic and anticolonial: imperialistic in its expansion across the continent and across oceans to colonies such as the Philippines, and anticolonial in its rhetoric and ideology. How did this contradiction shape its interactions with European colonists and Southeast Asians after the United States joined the ranks of colonial powers in 1898? Anne L. Foster argues that the actions of the United States functioned primarily to uphold, and even strengthen, the colonial order in Southeast Asia. The United States participated in international agreements to track and suppress the region’s communists and radical nationalists, and in economic agreements benefiting the colonial powers. Yet the American presence did not always serve colonial ends; American cultural products (including movies and consumer goods) and its economic practices (such as encouraging indigenous entrepreneurship) were appropriated by Southeast Asians for their own purposes. Scholars have rarely explored the interactions among the European colonies of Southeast Asia in the early twentieth century. Foster is the first to incorporate the United States into such an analysis. As she demonstrates, the presence of the United States as a colonial power in Southeast Asia after the First World War helps to explain the resiliency of colonialism in the region. It also highlights the inexorable and appealing changes that Southeast Asians perceived as possibilities for the region’s future.

A groundbreaking tour of the human mind that illuminates the biological nature of our inner worlds and emotions, through gripping, moving—and, at times, harrowing—clinical stories “[A] scintillating and moving analysis of the human brain and emotions.”—Nature “Beautifully connects the inner feelings within all human beings to deep insights from modern psychiatry and neuroscience.”—Robert Lefkowitz, Nobel Laureate Karl Deisseroth has spent his life pursuing truths about the human mind, both as a renowned clinical psychiatrist and as a researcher creating and developing the revolutionary field of optogenetics, which uses light to help decipher the brain’s workings. In Projections, he combines his knowledge of the brain’s inner circuitry with a deep empathy for his patients to examine what mental illness reveals about the human mind and the origin of human feelings—how the broken can illuminate the unbroken. Through cutting-edge research and gripping case studies from Deisseroth’s own patients, Projections tells a larger story about the material origins of human emotion, bridging the gap between the ancient circuits of our brain and the poignant moments of suffering in our daily lives. The stories of Deisseroth’s patients are rich with humanity and shine an unprecedented light on the self—and the ways in which it can break down. A young woman with an eating disorder reveals how the mind can rebel against the brain’s most primitive drives of hunger and thirst; an older man, smothered into silence by depression and dementia, shows how humans evolved to feel not only joy but also its absence; and a lonely Uighur woman far from her homeland teaches both the importance—and challenges—of deep social bonds. Illuminating, literary, and essential, Projections is a revelatory, immensely powerful work. It transforms our understanding not only of the brain but of ourselves as social beings—giving vivid illustrations through science and resonant human stories of our yearning for connection and meaning.

Film does far more than document performance—it actively recreates the time and space of performance and overhauls its rapport with the viewer’s eye and body. The first book to look in-depth at the intersection of film and performance in relation to issues and theories of space, Performance Projections travels from the origins of film in Europe and the United States to the world of digital media today, exploring the dynamic relationship between these vitally connected ideas. Drawing from a wide range of examples—including filmic depictions of German and Japanese and Chinese performance art and street cultures—Stephen Barber argues that the act of filming has the power to draw distinctively performative dimensions out of unruly human gatherings, such as riots and political protests, while also accentuating the outlandish and aberrant aspects of performance. Spanning the history of film, Barber moves from performance in film’s formative years, such as Edward Muybridge’s work in the 1880s, to contemporary performance artworks—for example, Rabih Mroué’s investigations of the often lethal camera phone filming of snipers in Syrian cities. Proposing that the future conception of filmed performance needs to be radically expanded in response to the transformations of digital film cultures, Performance Projections is a critical addition to the literature on both film and art history.

In Rhumb Lines and Map Wars, Mark Monmonier offers an insightful, richly illustrated account of the controversies surrounding Flemish cartographer Gerard Mercator's legacy. He takes us back to 1569, when Mercator announced a clever method of portraying the earth on a flat surface, creating the first projection to take into account the earth's roundness. As Monmonier shows, mariners benefited most from Mercator's projection, which allowed for easy navigation of the high seas with rhumb lines—clear-cut routes with a constant compass bearing—for true direction. But the projection's popularity among nineteenth-century sailors led to its overuse—often in inappropriate, non-navigational ways—for wall maps, world atlases, and geopolitical propaganda. Because it distorts the proportionate size of countries, the Mercator map was criticized for inflating Europe and North America in a promotion of colonialism. In 1974, German historian Arno Peters proffered his own map, on which countries were ostensibly drawn in true proportion to one another. In the ensuing "map wars" of the 1970s and 1980s, these dueling projections vied for public support—with varying degrees of success. Widely acclaimed for his accessible, intelligent books on maps and mapping, Monmonier here examines the uses and limitations of one of cartography's most significant innovations. With informed skepticism, he offers insightful interpretations of why well-intentioned clerics and development advocates rallied around the Peters projection, which flagrantly distorted the shape of Third World nations; why journalists covering the controversy ignored alternative world maps and other key issues; and how a few postmodern writers defended the Peters worldview with a self-serving overstatement of the power of maps. Rhumb Lines and Map Wars is vintage Monmonier: historically rich, beautifully written, and fully engaged with the issues of our time.