Book Reviews and Short Notices

The question of community, and specifically Algerian female communities, informs a number of Assia Djebar's texts, as well as constituting an underlying concern in much criticism of her work. Yet, in many cases, such analyses do not align Djebar's communitarian representations with wider thinking on forms of community in philosophical and sociohistorical terms. An exception is found in the work of Jane Hiddleston, who fruitfully places Djebar's literary project within the context of a contemporary consideration of community, drawing on Jean-Luc Nancy's conceptions of operative and inoperative communities. Hiddleston's comprehensive account of Djebar's literary work does not include the author's only feature length film, La Nouba des femmes du Mont Chenoua (1978), which will be my subject here. This article presents an examination of La Nouba in terms of community and communitarian narratives, turning to Judith Butler to consider whether a different model of shared humanity might shed further light on the issues of unity and difference in the film .     

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation with Chinese colleagues across all sectors of the production ecosystem. The continuing flow of Chinese–Korean transnational film encounters, underpinned by influential personal networks, resulted in the signing of a formal China–Korea co-production agreement in July 2014. To examine the efficacy of this policy intervention, this article analyzes the diversity of film collaboration that preceded this agreement and its impact on transnational filmmaking in China. It investigates the strategies used in the remaking of Korean auteur Lee Man Hee’s 1966 melodrama Late Autumn (2010), technical innovation in the VFX-heavy Mr. Go (2013), and the making of mega-distributor CJ E&M’s romance drama A Wedding Invitation (2013) to illustrate how Korean firms and practitioners are expanding the commercial entertainment boundaries of Chinese cinema. In so doing, it also reveals how Chinese film companies are enabling the Korean film industry to internationalize its approach to overseas markets beyond the kind of conspicuous policy initiatives tailored for a globalized cultural economy.     

Cartographically reconstructing surveys of community land grants in New Mexico to support historical research and political discourse

Cartographic visualization of past changes in ownership and management of real estate provides a basis for historical research, decision-making, and political discourse. Surveys associated with land title deeds represent unique and legally valid geographic records of historical boundaries, including those of some Spanish-Mexican land grants in the American Southwest that are currently administrative subdivisions of state. Accurate representation of land grant boundaries that were surveyed during the nineteenth century is problematic due to imprecise instrumentation, error of record, and uncertainty in landmark location. This study assesses the utility of coordinate points from US Bureau of Land Management (BLM) “brass-cap” monuments (cadastral points) for cartographic reconstruction of three New Mexico land grant surveys that exhibit distinct geographic characteristics. Findings reveal discrepancies with respect to land ownership maps produced by the BLM and provide insight to decisions made during surveying. These reconstructed boundaries are also compared to boundary maps produced by the BLM, based on comparisons with the original surveys and relative to known boundary markers. This study highlights the practical importance and potential scholarly applications of reconstructing geographic boundaries of politically active community land grants in a contemporary context.     

The deterioration of relations: from support to severance

This article seeks to understand the place of the Russian immigrant community in the larger Israeli culture and to explore how immigrants themselves negotiate their position. One site of such negotiation is the film Paper Snow (2003) created predominantly by Russian-Israeli filmmakers. Their distinct vantage point emerges through the film's casting, genre, style, and language. Paper Snow features such iconic figures of Israeli culture-in-the-making as actress Hanna Rovina and poets Alexander Penn and Avraham Shlonsky, but represents them as part of the Russian intelligentsia. In this way, the film adheres to the familiar story of nation building, but tells it with an accent: by emphasizing the Russianness of the Israeli national past, the film inscribes contemporary Russian immigrants onto the grand narrative of the nation. By revising the official collective memory, Paper Snow produces accented memory.     

“Gedankenaustausch über Probleme und Methoden der Forschung”. Transatlantische Gastprofessoren aus Emigrantenkreisen in Westdeutschland nach 1945

The history of the sciences and humanities follows cycles in some of which there is greater emphasis on the continuity of developments, in others on the breaks in continuity. In recent years the main focus of research for the 20^th century has been on the continuities extending beyond the boundaries of 1933 and 1945. The main aim of this study, however, is to examine the impulses for the internationalization of German universities provided by a transnational group of academic migrants. These migrants, whose origins were in the German academic community, represented an alternative continuity beyond the boundaries of this period: they were visiting academics who were the conveyors and interpreters of ideas from Germany into the USA and Britain and vice versa. The study of this group therefore combines remigration history and the history of universities as institutions, focussing on actors, networks and innovations in teaching, with the history of individual subjects and disciplines.     

PETS OR MEAT: CLASS,IDEOLOGY, AND SPACE IN ROGER & ME*

This paper offers a reading of Michael Moore's docu-comedy, Roger & Me, a film ostensibly chronicling the director's effort to interrogate General Motors Chairman Roger Smith following massive plant closures in and around Flint, Michigan in the 1980s. Our analysis focuses on four key themes: (1) the status of “community” as an ideological lever both prior and subsequent to GM's layoffs; (2) the spatial consequences of economic restructuring, expressed most formidably in the division between public and private space; (3) the charge that Moore's film suffers from a lack of objectivity; and (4) the notable absence of any significant representation of labor resistance to the plant closures. The film's themes, we argue, coalesce in an emblematic sequence involving Rhonda Britton, a woman who sells rabbits as both pets and meat. The paper concludes by calling for increased attention on the part of geographers to filmic portrayal, and, more generally, to all forms of representation and the issues which surround them.     

The Wiley-Blackwell companion to cultural geography

The Western film genre fosters the mythic view of America as a feminized Eden where one can regenerate or recreate oneself. Westerns typically depict the American countryside as though it were simply a gorgeous framing device for the film's male protagonist whose primary function is to introduce the rough wilderness to the pioneers (or cinematic viewers) who will follow him. In contrast, in the rural femalecentered films of American life— such as Daughters of the Dust, Places in the Heart, Bagdad Cafe, and The Spitfire Grill—the landscape plays a central role. Nature, in fact, generally replaces the powerful male protagonist of the Western. Unlike European movies that also highlight nature's regenerative power, the American films discussed here center on the transformation of the woman. They highlight the Jeffersonian ideal of America as a garden community—one where the female protagonist is regenerated by her ties to the land and by her relationship with those labeled “Other.” She does not conquer or traipse through the cowboy's wild Eden. Rather, she inhabits a nurturing cinematic place that celebrates community and embraces difference.     

Chinese Queer Images on Screen: A Case Study of Cui Zi’en’s Films

The image of Chinese LGBT (lesbian, gay, bisexual and transgender) is largely absent from the big screen under the Chinese Communist Party’s censorship control. Taking advantage of the now cheaply available digital-video (DV) technology, queer activist and filmmaker Cui Zi’en has produced more than 10 LGBT-themed films since 2002, which shows the momentum of Chinese independent DV filmmaking. Although circulated mainly underground in China and at international film festivals, Cui’s films seek to promote the visibility of Chinese LGBT by representing queer diversity in this community. As the only filmmaker consistently dealing with LGBT themes and experimenting with new film techniques in China, Cui employs unconventional film aesthetics, featuring extreme long takes, unstable camerawork and minimal narrative, to challenge the oppression of Chinese LGBT by heteronormative conventions, as embodied by state power and a patriarchal social order. Furthermore, facilitated by DV technology, Cui adapts Western New Queer Cinema to the Chinese context, which brings a new dimension to Chinese cinema. In China’s restrictive political environment, Cui, like many other independent filmmakers, uses moving images to challenge official interpretations of social realities in contemporary China.     

Afghanada,or How to be a Good (Canadian) Soldier

The CBC radio show Afghanada, a “grunt’s-eye” view of the Canadian Forces’ deployment in Afghanistan (2006–2011), is one of the few fictionalized engagements with the conduct and consequences of the war. Despite its significance, Afghanada has only received limited critical attention and was usually interpreted as a symptom of the “militarization” of Canadian culture. This article argues that Afghanada is more adequately conceptualized as a cultural site where the most important issues brought up by war were negotiated and new boundaries of legitimacy and acceptability drawn. Afghanada tackles the question of combat versus peacekeeping as the primary task of the Canadian military, cooperation with the United States, and national unity. While the show extends the boundaries of societal acceptability by portraying combat as necessary, it also negotiates new limits within which combat is legitimate and enables multiple interpretations regarding the desirability and costs of the evolution of Canada’s military.     

Young Mr. Lincoln in Ford's Theater

In Young Mr. Lincoln, director John Ford and screenwriter Lamar Trotti engage an issue that is central to Ford's films and to Lincoln's political thought. That issue is the tension between individual greatness and the rule of law, a tension heightened in a democracy by the demos's passion for equality. In the film's portrayal of Lincoln, Ford and Trotti suggest a solution to this tension that is fundamentally consistent with the one Lincoln suggested in the Lyceum Address. To remain within the political community, the great man must hold a sincere reverence for the law and be willing to exhibit humility in declaiming his own superiority. In the context of these characteristics, greatness can be a force that preserves the law and protects the community from harm. The film depicts Lincoln as the paradigmatic combination of these characteristics and alludes to his mature leadership based on these commitments in his later career.     

Revising history: Elvira Giallanella’s Umanità and the editing of gender

A mix of fantasy, history, spirituality, and political engagement, Elvira Giallanella’s film, Umanità (1920), is a sort of Carrollian ‘through the looking glass’ in which reality resembles itself but upside-down. In the immediate aftermath of WWI, Giallanella’s film – a revision of Vittorio Emanuele Bravetta’s 1916 children’s story from 1916. children’s story – both reflects and critiques gender roles that had been temporarily fissured by the war itself. A feminist position transpires in the juxtaposition of the pre-war male-authored text with the postwar female-directed film, further revised by men. An invaluable historical source, Umanità not only offers insight into a woman’s and a feminist’s perspective on the Great War and its aftermath but also sheds light on the moral, political, and philosophical atmosphere of destabilization at the time. Coming full circle, Umanità suffered from the very same revisions by the re-established postwar patriarchy, and by the end of the 1920s, cinema itself had been reclaimed as male territory, leaving the film lost amongst the debris. Umanità’s resurfacing in 2007 allows us to reflect on the process of history-making in itself: what is omitted, what is included, and more importantly whose voices will be validated enough to be heard along the way. This instance – one amongst several – can serve as an example of how history is indeed a continuous process made up of (re)visions, and never a singular, univocal one.     

Gated communities as spatial manifestations of moral differentiation and competition: an example from Istanbul,Turkey

Gated communities have received significant attention in academic debates. Despite this, there is a lack of studies on differentiation and tensions between them. This paper analyses differentiation between gated communities by adopting the theory of “symbolic boundaries” [Lamont, M., 1992. Money, morals, and manners: the culture of the French and American upper-middle class. Chicago, IL: University of Chicago Press]. It uses the data collected from fieldwork in two gated communities in Istanbul, Turkey, comprising semi-structured in-depth interviews with residents. First, the paper contributes to Lamont's “symbolic boundaries” [Lamont, M., 1992. Money, morals, and manners: the culture of the French and American upper-middle class. Chicago, IL: University of Chicago Press] by showing that morality is not independent from socio-economic context, but indicates the legitimate values of a given social context. This is shown in residents’ use of moral boundaries such as a law-abiding lifestyle, legitimate sources of capital accumulation and the existence of warmer relations with each other. Second, the paper contributes to the study of gated communities by demonstrating that they can be regarded as spatial manifestations of the division within the upper classes which results from competition for deserved status.     

The disciplining of scientific communities

Abstract

Amidst ongoing concern with training students in the skills and knowledge necessary to contribute towards a knowledge-intensive economy, we explore how particular ‘epistemic subjects’ are produced within specific epistemic communities. We examine how social studies of science have probed the ‘disciplining’ practices that constitute scientific knowledge production, but have tended to overlook how students participate in, and become members of, epistemic communities. We propose that training contexts provide a window onto the disciplining processes through which scientific fields and their practitioners are co-produced. We offer an empirical example of an emerging scientific field that is working to establish community boundaries through the recruitment and training of university students. We explore how newcomers’ practices, values and identities are disciplined through participation in this nascent community whilst remaining open to negotiation and resistance. The conclusion calls for more scholarly attention to educational trajectories as processes through which disciplines and their disciples are produced.     

Historic and symbolic violence in the Romani Fuenteovejuna by TNT-El Vacie: Gender,ethnicity, and interculturalism

Abstract

I address here the performance of Lope de Vega’s Fuenteovejuna undertaken by TNT-El Vacie, giving particular consideration to the ways in which Antonio Álamo’s adaptation, Pepa Gamboa’s direction, and the staging of El Vacie, a company composed exclusively of Roma women, constitute a site of resistance as well as a performance of gender, identity, and place. From this vantage point, I wrestle with issues of agency, dialogism, and intercultural communication to make sense of ontological as well as hermeneutic aspects of the performance text: deletions and additions; orality and authority; meta-theatricality and self-reflexivity; acting and becoming. In addition, I bring to bear the fact that the name of the company, El Vacie, bears witness to the impoverished settlement or shantytown where the women reside, which stands within a mere two hundred yards of the theater where the play is performed. The name of the company signals the identification of the actresses with the marginal space in which they live, enriches the text, and further complicates their reading of Fuenteovejuna by adding levels of referentiality and indexicality that redefine boundaries as well as processes of exclusion and inclusion. While this is not the first collaboration between TNT and El Vacie—it was preceded by the successful and award-winning 2009 staging of La Casa de Bernarda Alba—I consider this performance a particularly important contribution to the construction of a historicized cultural politics of identity that makes the Romani community visible by positioning the women of El Vacie center stage as participants, creators, and interpreters of the national cultural patrimony. Through this cultural intervention, certain spaces and markers of the Roma community acquire visibility as they get inserted into a national historical discourse from which they previously had been historically excluded.     

Community Archaeology as Knowledge Management: Reflections from Uneapa Island,Papua New Guinea

Abstract

Over the last decade the concept of community archaeology has become a worldwide phenomenon; a convenient tagline largely describing the involvement of non-archaeologists in the practice of interacting with, uncovering, interpreting, and presenting the past. A plethora of new definitions and methodologies have been postulated, a marked increase in public funds invested in such initiatives is notable, as is the development of more rigorous evaluation strategies. Using Etienne Wenger’s ideas about ‘communities of practice’ (1998), I argue that community archaeology can be conceived as a form of knowledge management. In doing so, this paper reflects on the interactions between a small research team and local community during six months fieldwork on Uneapa, a remote island in the Bismarck Sea, Papua New Guinea. It considers the sets of relations that emerged whilst fi?eld-walking, surveying, and excavating Uneapa’s monumental landscape, and discusses how local ideas and knowledge influenced and altered the project methodologies and research questions being asked. This paper also highlights the challenges faced when reifying such engagements into research outputs.     

Friedrich Sunder and the boundaries of gender

The article explores the gendered imaginary in the Gnadenleben of Friedrich Sunder (1254–1328) and the formation of clerical masculinity in the context of feminine devotional life. Friedrich Sunder worked as a convent chaplain for a Dominican female community and lived within the convent's area. In his book Sunder employs language, images and devotional practices that can be considered in medieval culture to have been feminine. Almost simultaneously, however, he applied masculine roles and emphasised his own manliness. Although Sunder accepted female forms of religiosity and wrote on practices that were considered especially suitable for women, at the same time his priestly masculinity was defined by the physical boundary the cloister created between the enclosed feminine religiosity and that of a pastoral masculine priesthood. His discussion of gender within the mystical frame defined the boundaries of his own masculinity in the web of different traditions of both the proper way of life and the gendered nature of religious practices.     

MEDIEVAL ENGLISH PARLIAMENTS

The English Parliament in the Middle Ages. By H. G. Richardson and G. O. Sayles. London: Hambledon Press
The English Parliament in the Middle Ages. Edited by R. G. Davies and J. H. Denton. Manchester: Manchester University Press     

Monks and children: corporal punishment in Late Antiquity1*

This article examines the place of corporal punishment in early monastic discipline. By comparing the role assigned to corporal punishment in a variety of monastic rules from across the late antique Mediterranean, from the Rules ascribed to Pachomius (d. 348), to the Rule of Benedict from the mid-sixth century, it demonstrates that late antique monastic writers had a sophisticated and ordered approach to this type of penalty. This approach drew both on the concept of the absolute authority of the punishing father in Scripture, and on the limitations of Roman social expectations and ancient educational values to such absolute authority. As a result corporal punishment was seen either as a last resort when all other disciplinary measures had failed to bring about a reasonable response, or the appropriate punishment for an offence that originated from irrational conduct. Contrary to ancient household practices, however, which seem to have reserved corporal punishment for small children and slaves – conventionally perceived to lack ability to reason – late antique monastic rules invoked corporal punishment as a possibility for every member in the community who demonstrated irrational behaviour. In this way they blurred traditional boundaries between children, slaves and adults.     

Transnational ways of seeing: sexual and national belonging in Hedwig and the Angry Inch

I argue that transnational ways of seeing help us apprehend the histories of globalization, immigration and imperialism that frame and make legible cultural productions. Focusing on John Cameron Mitchell's 2001 film Hedwig and the Angry Inch, which has been almost universally received as being about transsexuality, this essay argues that the film is equally about transnationality and specifically about how queer identifications and identities are produced in relation to the nation-state. Hedwig explores the limits of national belonging and the pleasures of US popular culture through the lens of sexual and gender identity, with the ambiguity of the Hedwig's body embodying confusion about legal, political and cultural citizenship. The film identifies and critiques the violences of heteronormative national belonging, yet by reading Hedwig alongside the political and legal histories that make its narrative legible, it becomes apparent that the film's popular reception frequently erases the transnational and imperial histories that undergird and produce sexual identities and identification. I argue that cultural practices do not simply reflect national or queer identifications but also produce them. The fissures between the cultural work of the film itself and of its circulation illustrate how despite the mutual imbrication of sexuality and nationality, transsexuality is sometimes more readily apprehended than is transnationality.