This edited book set in the context of North East India explores issues concerning symbols, meanings, representations, and social implications of materiality and visuality, as well as the dynamics of power, social reproduction, ideological dominance and knowledge production, from an interdisciplinary perspective. It seeks to answer the question of why some things matter more than others or what happens when certain things are made more visible than others. The book provides valuable insights into the process of identity construction through the use of cultural sources, both material and visual. Following on the debates/discussions on material and visual culture in the 1970s and 1980s, the book argues that instead of viewing objects as mere representation(s), one should see them as active agents in creating perceptions, bodily practices, discourses and perceptions of our social world. Each chapter in the book unravels and engages with these pertinent issues in order to arrive at a more comprehensive understanding of the status quo. The book is of interest to scholars of ethnicity, identity construction, politics and state, cultural studies, media studies, visual, social and cultural anthropology and sociology, as well as lay readers who want to learn more about the region.

This edited book set in the context of North East India explores issues concerning symbols, meanings, representations, and social implications of materiality and visuality, as well as the dynamics of power, social reproduction, ideological dominance and knowledge production from an interdisciplinary perspective. It seeks to answer the question of why some things matter more than others or what happens when certain things are made more visible than others. The book provides valuable insights into the process of identity construction through the use of cultural sources, both material and visual. Following on the debates/discussions on material and visual culture in the 1970s and 1980s, the book argues that instead of viewing objects as mere representation(s), one should see them as active agents in creating perceptions, bodily practices, discourses and perceptions of our social world. Each chapter in the book unravels and engages with these pertinent issues in order to arrive at a more comprehensive understanding of the status quo. The book is of interest to scholars of ethnicity, identity construction, politics and state, cultural studies, media studies, visual, social and cultural anthropology and sociology, as well as lay readers who want to learn more about the region.

This book considers three questions about understanding the past. How can we rethink human histories by including animals and plants? How can we overcome nationally territorialised narratives? And how can we balance academic history-writing and indigenous understandings of history? This is a tentative foray into the connections between these questions. Entangled Lives explore them for a large area that has seldom been explored in academic inquiry. The 'Eastern Himalayan Triangle' includes both uplands and lowlands. The region is the meeting point of three global biodiversity hotspots connecting India and China across Myanmar/Burma, Bangladesh and Bhutan. The 'Triangle' is treated as a multispecies site in which human histories have always been utterly intertwined with plant and animal histories. It foregrounds that history is co-created – it is always interspecies history – but that its contours are locally specific.

High in the eastern Himalayan foothills, people had a unique vantage point on the British Empire. The Mizo Discovery of the British Raj presents a history of Mizoram in Northeast India told from historical Indigenous perspectives of encounters with empire from the 1890s to the 1920s. Based on a wide range of research and enriched by sources newly digitised by the author through the British Library's Endangered Archives Programme, Kyle Jackson sheds new light on the complex and violent processes of how and why diverse populations of highland clans in the Indo-Burmese borderlands came to redefine themselves as Christian Mizos. By using historical Indigenous concepts and logics to approach early twentieth-century imperial encounters, Jackson guides readers into a decolonial history of Northeast India, demonstrating the value of thinking not just about the histories of colonized peoples and concepts but also with them.

Punching Up in Stand-Up Comedy explores the new forms, voices and venues of stand-up comedy in different parts of the world and its potential role as a counterhegemonic tool for satire, commentary and expression of identity especially for the disempowered or marginalised. The title brings together essays and perspectives on stand-up and satire from different cultural and political contexts across the world which raise pertinent issues regarding its role in contemporary times, especially with the increased presence of OTT platforms and internet penetration that allows for easy access to this art form. It examines the theoretical understanding of the different aspects of the humour, aesthetics and politics of stand-up comedy, as well as the exploration of race, gender, politics and conflicts, urban culture and LGBTQ+ identities in countries such as Indonesia, Finland, France, Iran, Italy, Morocco, India and the USA. It also asks the question whether, along with contesting and destabilising existing discursive frameworks and identities, a stand-up comic can open up a space for envisaging a new social, cultural and political order? This book will appeal to people interested in performance studies, media, popular culture, digital culture, sociology, digital sociology and anthropology, and English literature. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY) 4.0 license. Funded by the University of Helsinki.

This book looks at China’s May Fourth Movement and how it has been contextualised in modern Chinese history. Tracing the roots of the movement and of modern Chinese literary and intellectual traditions, the book analyses how the movement transformed ideas, culture, and social practices in the country. The volume presents a critical in-depth study of the May Fourth Movement from interdisciplinary perspectives. With essays written by scholars and experts from India, China, and the West, it discusses concepts and themes such as nationalism; the citizen and revolutionary morality in the late Qing dynasty as well as Lu Xun’s struggle with the aporetic temporalities of capitalist modernity; the May Fourth spirit and the Communist Party of China; the birth of the ‘New Woman’; and the literature, cinema, and art produced during the movement. It also examines how the waves created by the movement in Chinese culture and society continue to influence and shape events and thoughts in contemporary times. This book will be of interest to scholars and researchers of Chinese Studies, Chinese history, Asian Studies, Asian history, political history, and cultural history.

Music, Sound, and Documentary Film in the Global South, edited by Christopher L. Ballengee, represents an important step toward thinking about the production and analysis of the soundscapes of documentary film, all while exploring a range of social, cultural, technological, and theoretical questions relevant to current trends in Global South studies. Written by a diverse set of authors, including filmmakers, academics, and cultural critics, the ten essays in this book provide fresh evaluations of the place of music and sound in documentary films outside the European-American milieu. On the whole, the authors illuminate how the invention of documentary film was at first a product of the colonialist project. Yet over time, access to filmmaking technologies led to the creation of documentary films relevant for local communities and national identities. In this sense, documentary film in the Global South might be broadly defined as a mode of personally or politically mediated storytelling that, by one route or another, has become a useful and recognizable means of memorializing traumatic histories and critiquing everyday lived experience. As the essays in this volume attest, close readings of documentary soundscapes provide fresh perspectives on ways of hearing and ways of being heard in the Global South.

This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally. It covers all aspects of screen production—from conceptualizing ideas and developing them, to realizing and then distributing them—across all forms and formats, including fiction and non-fiction for cinema, television, gallery spaces and the web. With chapters by practitioners, scholars and educators from around the world, the book provides a comprehensive collection of approaches for those studying and teaching the development and production of screen content. With college and university students in mind, the volume purposely combines theory and practice to offer a critically informed and intellectually rich guide to screen production, shaped by the needs of those working in education environments where ‘doing’ and ‘thinking’ must co-exist. The Palgrave Handbook of Screen Production fills an important gap in creative-critical knowledge of screen production, while also providing practical tools and approaches for future practitioners.

This book examines material and multi-sensorial expressions of Shiʿi Islam in diverse, and understudied demographic and geographic contexts.It engages with conceptual debates and makes several propositions that push the frontiers of scholarship on Islamic and Religious Studies, Material Religion, Heritage Studies, and Anthropology and Sociology of Religion.The contributions presented in this volume demonstrate how material things and less thing-like materialities make the praesentia and potentia of the Sacred tangible, how they cultivate intimate relations between human and more-than-human beings, and how they act as links and gateways to the Elsewhere and Otherworldly. The volume posits that materialities of religion are integral to processes of heritagization shaped by competing social and political actors involved in the construction and canonization of religious—in this case, Shiʿi—heritage.