This collection of essays explores the interfaces between new information technologies and their impact on contemporary culture, and recent transformations in capitalist production. From a transnational frame, the essays investigate some of the key facets of contemporary global capitalism: the ascendance of finance capital, and the increasing importance of immaterial labor (understood here as a post-Fordist notion of work that privileges the art of communication, affect, and virtuosity). The contributors address these transformation by exploring their relation to new digital media (YouTube, MySpace, digital image and video technology, information networks, etc.) and various cultural forms including the Hispanic television talk show, indigenous video production, documentary film in Southern California, the Latin American stock market, German security surveillance, transnational videoconferencing, and Japanese tourists’ use of visual images on cell phones. The authors argue that the seemingly radical newness and alleged immateriality of contemporary speculative capitalism, turns out to be less dramatically new and more grounded in colonial/racial histories of both material and immaterial exploitation than one might at first imagine. Similarly, human interaction with digital media and virtuality, ostensibly a double marker for the contemporary and economically privileged subject, in fact reveals itself in many cases as transgressive of racial, economic and historical categories.

This collection of essays explores the interfaces between new information technologies and their impact on contemporary culture, and recent transformations in capitalist production. From a transnational frame, the essays investigate some of the key facets of contemporary global capitalism: the ascendance of finance capital, and the increasing importance of immaterial labor (understood here as a post-Fordist notion of work that privileges the art of communication, affect, and virtuosity). The contributors address these transformation by exploring their relation to new digital media (YouTube, MySpace, digital image and video technology, information networks, etc.) and various cultural forms including the Hispanic television talk show, indigenous video production, documentary film in Southern California, the Latin American stock market, German security surveillance, transnational videoconferencing, and Japanese tourists’ use of visual images on cell phones. The authors argue that the seemingly radical newness and alleged immateriality of contemporary speculative capitalism, turns out to be less dramatically new and more grounded in colonial/racial histories of both material and immaterial exploitation than one might at first imagine. Similarly, human interaction with digital media and virtuality, ostensibly a double marker for the contemporary and economically privileged subject, in fact reveals itself in many cases as transgressive of racial, economic and historical categories.

Featuring twenty-five key essays from the Journal of Latin American Cultural Studies (Traves/sia), this book surveys the most influential themes and concepts, as well as scouring some of the polemics and controversies, which have marked the field over the last quarter of a century since the Journal's foundation in 1992. Emerging at a moment of crisis of revolutionary narratives, and at the onset of neoliberal economics and emergent narcopolitics, the cultural studies impetus in Latin America was part of an attempted intellectual reconstruction of the (centre-) left in terms of civil society, and the articulation of social movements and agencies, thinking beyond the verticalist constructions from previous decades. This collection maps these developments from the now classical discussions of the ‘cultural turn’ to more recent responses to the challenges of biopolitics, affect theory, posthegemony and ecocriticism. It also addresses novel political constellations including resurgent national-popular or eco-nativist and indigenous agencies. Framed by a critical introduction from the editors, this volume is both a celebration of influential essays published over twenty five years of the Journal and a representative overview of the field in its multiple ramifications, entrenchments and exchanges.

The Work of Art in the Age of Mechanical Reproduction combats traditional art criticism’s treatment of artworks as fixed, unchanging mystical objects. For Walter Benjamin, the consequences of addressing a work of art in this manner have a wider resonance: closed off from any active visual or tactile engagement, the work of art becomes an object of passive contemplation and a potential tool of oppression. Benjamin argues that technology has fundamentally altered the way art is experienced. Potentially open to interpretation and accessible to many, art in the age of mechanical reproduction has the potential to be mobilized for radical purposes. While ostensibly addressing the artistic consequences of technical reproducibility on art, Benjamin also addresses the wider political consequences of this shift.

Libre Acceso stages an innovative encounter between disciplines that have remained quite separate: Latin American literary, film, and cultural studies and disability studies. It offers a much-needed framework to engage the representation, construction, embodiment, and contestation of human differences, and provides tools for the urgent resignification of a robust and diverse Latin American literary and filmic tradition. The contributors discuss such topics as impairment, trauma, illness and the body, performance, queer theory, subaltern studies, and human rights, while analyzing literature and film from Argentina, Brazil, Chile, Colombia, Cuba, Mexico, and Peru. They explore these issues through the work of canonical figures Jorge Luis Borges, Gabriel García Márquez, João Guimarães Rosa, and others, as well as less well-known figures, including Mario Bellatin and Miriam Alves.

This book addresses a variety of regional humor traditions such as exploitation cinema, Brazilian chanchada, the Cantinflas heritage, the comedy of manners and light sexuality, iconic figures and characters, as well as a variety of humor registers evident in different Latin American films.

"This book casts the poet and filmmaker Pier Paolo Pasolini in a fresh light: his life and work in relation to the visual and performance arts of his time in both Europe and the US. Lavishly illustrated with both documentary and fine art images, it shows how essentially conservative Pasolini was politically and aesthetically despite his reputation as an avant-garde writer and filmmaker. But it also shows how truly advanced Pasolini was when it comes to interdisciplinary art, making him enormously relevant today"--

The Routledge Handbook of Audiovisual Translation provides an accessible, authoritative and comprehensive overview of the key modalities of audiovisual translation and the main theoretical frameworks, research methods and themes that are driving research in this rapidly developing field. Divided in four parts, this reference work consists of 32 state-of-the-art chapters from leading international scholars. The first part focuses on established and emerging audiovisual translation modalities, explores the changing contexts in which they have been and continue to be used, and examines how cultural and technological changes are directing their future trajectories. The second part delves into the interface between audiovisual translation and a range of theoretical models that have proved particularly productive in steering research in audiovisual translation studies. The third part surveys a selection of methodological approaches supporting traditional and innovative ways of interrogating audiovisual translation data. The final part addresses an array of themes pertaining to the place of audiovisual translation in society. This Handbook gives audiovisual translation studies the platform it needs to raise its profile within the Humanities research landscape and is key reading for all those engaged in the study and research of Audiovisual Translation within Translation studies.