Anas M. Alahmed argues that the Entertainment Authority of Saudi Arabia created in 2016 was meant to introduce a “new Saudi” to the Western outsider audience and that the “new Saudi” state is on a mission to transform the country from a traditional and conservative kingdom to a new state dedicated to social modernization and openness. Alahmed contends that globalization and the neoliberalism capitalist mode of politics have reinforced the transformation of cultural production into global entertainment production. Therefore, the author shows how the entertainment sector relies heavily on reproducing the Western culture of entertainment production and depends on Western businesses to bring entertainment into the country instead of investing in local entertainment businesses, which forces the state to adopt neoliberal capitalism. The author provides evidence on how the new modernity of Saudi Arabia has become a political tool through which neoliberal capitalists can create positive relationships with Western capitals as part of the postcolonial struggle of neoliberalism in the Global South. Alahmed argues that there is a connection between the role of geopolitical power in globalization and postcolonial studies that explains the struggles of indigenous cultures related to providing their own production to society.

"Anita Butera provides a unique account of the past and future of Saudi Arabia as told by Saudi women. The story that emerges is one where modernization is not synonymous with Westernization but instead comes from the search for an identity based on the rich history of the country"--

This book analyzes the recent development of Gulf capitalism through to the aftermath of the 2008 economic crisis. Situating the Gulf within the evolution of capitalism at a global scale, it presents a novel theoretical interpretation of this important region of the Middle East political economy.

Leading writer Boris Kagarlitsky offers an ambitious account of 1000 years of Russian history.

Conventional theories of capitalism are mired in a deep crisis: after centuries of debate, they are still unable to tell us what capital is. Liberals and Marxists both think of capital as an ‘economic’ entity that they count in universal units of ‘utils’ or ‘abstract labour’, respectively. But these units are totally fictitious. Nobody has ever been able to observe or measure them, and for a good reason: they don’t exist. Since liberalism and Marxism depend on these non-existing units, their theories hang in suspension. They cannot explain the process that matters most – the accumulation of capital. This book offers a radical alternative. According to the authors, capital is not a narrow economic entity, but a symbolic quantification of power. It has little to do with utility or abstract labour, and it extends far beyond machines and production lines. Capital, the authors claim, represents the organized power of dominant capital groups to reshape – or creorder – their society. Written in simple language, accessible to lay readers and experts alike, the book develops a novel political economy. It takes the reader through the history, assumptions and limitations of mainstream economics and its associated theories of politics. It examines the evolution of Marxist thinking on accumulation and the state. And it articulates an innovative theory of ‘capital as power’ and a new history of the ‘capitalist mode of power’.

"Astute."—New York Times Ayn Rand’s complicated notoriety as popular writer, leader of a political and philosophical cult, reviled intellectual, and ostentatious public figure endured beyond her death in 1982. In the twenty-first century, she has been resurrected as a serious reference point for mainstream figures, especially those on the political right from Paul Ryan to Donald Trump. Mean Girl follows Rand’s trail through the twentieth century from the Russian Revolution to the Cold War and traces her posthumous appeal and the influence of her novels via her cruel, surly, sexy heroes. Outlining the impact of Rand’s philosophy of selfishness, Mean Girl illuminates the Randian shape of our neoliberal, contemporary culture of greed and the dilemmas we face in our political present.

A critical cultural materialist introduction to the study of global entertainment media. In Global Entertainment Media, Tanner Mirrlees undertakes an analysis of the ownership, production, distribution, marketing, exhibition and consumption of global films and television shows, with an eye to political economy and cultural studies. Among other topics, Mirrlees examines: Paradigms of global entertainment media such as cultural imperialism and cultural globalization. The business of entertainment media: the structure of capitalist culture/creative industries (financers, producers, distributors and exhibitors) and trends in the global political economy of entertainment media. The "governance" of global entertainment media: state and inter-state media and cultural policies and regulations that govern the production, distribution and exhibition of entertainment media and enable or impede its cross-border flow. The new international division of cultural labor (NICL): the cross-border production of entertainment by cultural workers in asymmetrically interdependent media capitals, and economic and cultural concerns surrounding runaway productions and co-productions. The economic motivations and textual design features of globally popular entertainment forms such as blockbuster event films, TV formats, glocalized lifestyle brands and synergistic media. The cross-cultural reception and effects of TV shows and films. The World Wide Web, digitization and convergence culture.