Gaze Regimes is a bricolage of essays and interviews showcasing the experiences of women working in film, either directly as practitioners or in other areas as curators, festival programme directors or fundraisers. It does not shy away from questioning the relations of power in the practice of filmmaking and the power invested in the gaze itself. Who is looking and who is being looked at, who is telling women’s stories in Africa and what governs the mechanics of making those films on the continent? The interviews with film practitioners such as Tsitsi Dangarembga, Taghreed Elsanhouri, Jihan El-Tahri, Anita Khanna, Isabel Noronhe, Arya Lalloo and Shannon Walsh demonstrate the contradictory points of departure of women in film – from their understanding of feminisms in relation to lived-experiences and the realpolitik of women working as cultural practitioners. The disciplines of gender studies, postcolonial theory, and film theory provide the framework for the book’s essays. Jyoti Mistry, Antje Schuhmann, Nobunye Levin, Dorothee Wenner and Christina von Braun are some of the contributors who provide valuable context, analysis and insight into, among other things, the politics of representation, the role of film festivals and the collective and individual experiences of trauma and marginality which contribute to the layered and complex filmic responses of Africa’s film practitioners.

Can postmodern accounts of the gaze - deriving from the psychoanalytic theories of Freud, Lacan, Fanon, and Riviere - tell us anything about those structures of vision prior to, and repressed by, modernity? Shakespeare's Visual Regime examines the tragedies, histories, and Roman plays for an emergent early modern spectatorial subject, thereby locating Shakespearean theatre within those discourses most crucial to the contemporary exposition and disruption of regimes of vision: perspective painting, cartography, optics, geometry, Puritan anti-theatrical polemic, and the occult.

Mobility studies emerged from a postmodern moment in which global ‘flows’ of capital, people and objects were increasingly noted and celebrated. Within this new scholarship, categories of migrancy are all seen through the same analytical lens. This book builds on, as well as critiques, past and present studies of mobility. In so doing, it challenges conceptual orientations built on binaries of difference that have impeded analyses of the interrelationship between mobility and stasis. These include methodological nationalism, which counterpoises concepts of internal and international movement and native and foreigner, and consequently normalises stasis. Instead, the book proposes a ‘regimes of mobility’ framework that addresses the relationships between mobility and immobility, localisation and transnational connection, experiences and imaginaries of migration, and rootedness and cosmopolitan openness. Within this framework and its emphasis on social fields of differential power, the various contributors to this collection ethnographically explore the disparities, inequalities, racialised representations and national mythscapes that facilitate and legitimate differential mobility and fixity. Although they examine nation-state building processes, the anthropological analysis is not confined by national boundaries. This book was originally published as a special issue of the Journal of Ethnic and Migration Studies.

This two-volume set LNCS 6771 and 6772 constitutes the refereed proceedings of the Symposium on Human Interface 2011, held in Orlando, FL, USA in July 2011 in the framework of the 14th International Conference on Human-Computer Interaction, HCII 2011 with 10 other thematically similar conferences. The 137 revised papers presented in the two volumes were carefully reviewed and selected from numerous submissions. The papers accepted for presentation thoroughly cover the thematic area of human interface and the management of information. The 62 papers of this second volume address the following major topics: access to information; supporting communication; supporting work, collaboration; decision-making and business; mobile and ubiquitous information; and information in aviation.

New Mobilities Regimes analyses how global mobilities are changing the world of today and the role of political and economic power. Bringing together essays by leading scholars and social scientists, including Mimi Sheller and Bülent Diken with the work of well-known artists and art theorists such as Jordan Crandall, Ursula Bieman, Gülsün Karamustafa and Dan Perjovschi this book is a unique document of the cross-disciplinary mobility and power discourse. The specific design, integrating the text and art elements to create a singular dialogue makes for an exciting intellectual and aesthetic experience. Illustrated by a range of studies which examine the regulation and structure of mobility, such as the daily routines of teleworkers, Ukrainian cleaners in Western Europe, the mobility policies of global corporations, and the impact of bicycle policies on public space, New Mobilities Regimes emphasizes the routes and crossroads of migration flows as well as at the interaction of mobility and new spatial concepts. The contributors are concerned with both the positive outcomes and the disappointments of the global mobilizations in modern lives. This book is ground-breaking in that it calls for the reassessment of the figurative arts in providing independent and insightful knowledge-generating research on the nature of mobility and highlights the new appreciation of visual representations in sociology, cultural geography and anthropology.

Josef von Sternberg's 1930 film The Blue Angel (Der blaue Engel) is among the best known films of the Weimar Republic (1919-1933). A significant landmark as one of Germany's first major sound films, it is known primarily for launching Marlene Dietrich into Hollywood stardom and for initiating the mythic pairing of the Austrian-born American director von Sternberg with the star performer Dietrich. This fascinating cultural history of The Blue Angel provides a new interpretive framework with which to approach this classic Weimar film and suggests that discourses on mass and high culture are integral to the film's thematic and narrative structure. These discourses surface above all in the relationship between the two main characters, the cabaret entertainer Lola Lola (Marlene Dietrich) and the high school teacher Immanuel Rath (one-time Oscar winner Emil Jannings). In addition to offering insight into some of the major debates that informed the Weimar Republic, this book demonstrates that similar issues continue to shape the contemporary cultural landscape of Germany. Barbara Kosta thus also looks at Dietrich as a contemporary cultural icon and at her symbolic value since German unification and at Lola Lola's various "incarnations."

Richard Wright is one of the greatest African-American writers of the 20th century. His masterpiece Native Son is analyzed in this volume of essays.