Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the present—often the very problems associated with television and the society shaped by it—and to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status.

Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the presentÑoften the very problems associated with television and the society shaped by itÑand to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status.

Moving back and forth in American history, a kaleidoscopic novel follows Hailey and Sam, two wayward teenagers, as they crash New Orleans parties, barrel up the Mississippi, head through the Badlands, and take on other adventures.

With crucial insights and indispensable information concerning modern-day political upheavals, the sixth edition of Revolutions and Revolutionary Movements provides a representative cross-section of many of the most significant revolutions of the modern era. Students can trace the historical development of eleven revolutions using a five-factor analytical framework. Attention is devoted to clearly explaining all relevant concepts and events, the roles of key leaders, and the interrelation of each revolutionary movement with international economic and political developments and conflicts. New to this edition: Expanded coverage of women and revolution with profiles of individual women revolutionaries. Coverage of the recent student movement in Hong Kong as well as economic developments in China, Chinese international influence and international economic development projects, and trade relations with the US during the Trump administration. Changes in US policy toward Cuba during the Trump administration. Examination of the cancellation of the Iran nuclear agreement by the Trump administration, Trump administration policies towards Iran, the impacts on Iran and Iranian reactions, and Iranian and Saudi Arabian involvement in Yemen. Coverage of the near extinction of geographic ISIS caliphate, terrorist attacks, and the implications of US policy on Palestinians and Middle Eastern countries during the Trump administration. Examination of persisting economic inequality, corruption, and recent South African political developments and government actions. Analysis of revolutionary movements in Venezuela and Bolivia and coverage of major political developments and events in both countries. Trump administration policy toward authoritarian states in the Middle East and implications for the possibility of pro-democracy movements in Middle Eastern countries. Updated student resources include multiple orienting maps, summary and analysis sections, chronologies, and documentary resources.

Recipient of the 2021 Honorary Mention for the Haiti Book Prize from the Haitian Studies Association In Slave Revolt on Screen: The Haitian Revolution in Film and Video Games author Alyssa Goldstein Sepinwall analyzes how films and video games from around the world have depicted slave revolt, focusing on the Haitian Revolution (1791–1804). This event, the first successful revolution by enslaved people in modern history, sent shock waves throughout the Atlantic World. Regardless of its historical significance however, this revolution has become less well-known—and appears less often on screen—than most other revolutions; its story, involving enslaved Africans liberating themselves through violence, does not match the suffering-slaves-waiting-for-a-white-hero genre that pervades Hollywood treatments of Black history. Despite Hollywood’s near-silence on this event, some films on the Revolution do exist—from directors in Haiti, the US, France, and elsewhere. Slave Revolt on Screen offers the first-ever comprehensive analysis of Haitian Revolution cinema, including completed films and planned projects that were never made. In addition to studying cinema, this book also breaks ground in examining video games, a pop-culture form long neglected by historians. Sepinwall scrutinizes video game depictions of Haitian slave revolt that appear in games like the Assassin’s Creed series that have reached millions more players than comparable films. In analyzing films and games on the revolution, Slave Revolt on Screen calls attention to the ways that economic legacies of slavery and colonialism warp pop-culture portrayals of the past and leave audiences with distorted understandings.

In 2011, Egypt witnessed more protests than any other country in the world: the beginning of a revolutionary process that would unfold in three waves of revolution, followed by two waves of counterrevolution. In addition to providing new and unprecedented empirical data, the book makes two theoretical contributions. First, a new framework is presented for analyzing the state apparatus in Egypt that is based on four pillars of regime support which can either prop upor press upon whoever is in power: the Egyptian military, the business elite, the United States, and the multi-headed opposition. Secondly, the book brings together the literature on bottom-up revolutionary movements and top-down military coups, and introduces the concept of a coup from below incontrast to the revolution from above that took place under Gamal Abdel Nasser.

Front Cover -- About Island Press -- Subscribe -- Title Page -- Copyright Page -- Contents -- Preface -- Acknowledgments -- 1. Will the Transportation Revolutions Improve Our Lives-- or Make Them Worse? -- 2. Electric Vehicles: Approaching the Tipping Point -- 3. Shared Mobility: The Potential of Ridehailing and Pooling -- 4. Vehicle Automation: Our Best Shot at a Transportation Do-Over? -- 5. Upgrading Transit for the Twenty-First Century -- 6. Bridging the Gap between Mobility Haves and Have-Nots -- 7. Remaking the Auto Industry -- 8. The Dark Horse: Will China Win the Electric, Automated, Shared Mobility Race? -- Epilogue -- Notes -- About the Contributors -- Index -- IP Board of Directors