Speculative Imperialisms: Monstrosity and Masquerade in Postracial Times explores the(settler) colonial ideologies underpinning the monstrous imaginings of contemporary popular culture in the Britain and the US. Through a close examination of District 9, Avatar, Doctor Who, Planet of the Apes, and steampunk culture, Susana Loza illuminates the durability of (settler) colonialism and how it operates through two linked yet distinct forms of racial mimicry: monsterization and minstrelsy. Speculative Imperialisms contemplates the fundamental, albeit changing, role that such racial simulations play in a putatively postracial and post-colonial era. It brings together the work on gender masquerade, racial minstrelsy, and postcolonial mimicry and puts it in dialogue with film, media, and cultural studies. This project draws upon the theoretical insights of Stuart Hall, Homi K. Bhabha, Edward Said, Philip Deloria, Michael Rogin, Eric Lott, Charles Mills, Falguni Sheth, Lorenzo Veracini, Adilifu Nama, Isiah Lavender III, Gwendolyn Foster, Marianna Torgovnick, Ann Laura Stoler, Anne McClintock, Eric Greene, Richard Dyer, and Ed Guerrero.

This book explores how imperialism has been evolving in the neoliberal era, with the aim of providing a systematic and integrative understanding of the inner dynamics and vulnerabilities of the contemporary imperialist system. Asking how it has been possible to sustain an imperialist system that fails to address the problems of unemployment, declining standards of living and globalizing conflicts, the author draws upon theoretical and empirical contributions from the current literature to further recent efforts at re-conceptualizing imperialism under the conditions of neoliberal globalization and advances a critique of the school of transnationalism in global political economy. The author puts forward that contemporary imperialism rests on a triangular structure composed of (a) economic imperialism, which is driven by a neoliberal logic of maximizing monopoly profits at massive societal costs; (b) military imperialism, which is shaped by the neoliberal transformation of the US military-industrial complex with the rise of private armies, the globalization of narcocapitalism, and the weaponization of Islamist terrorism and ethno-religious divides; and (c) cultural imperialism, which is led by the media- and nonprofit-corporate complexes, having weaponized the media and civil society in manufacturing popular consent. The book’s arguments are also extended to the current challenges of imperialism embodied in the rise of the BRICS, post-hegemonic forms of regional cooperation, and global popular resistance. As such, it will appeal to scholars of politics and sociology with interests in globalization, imperialism, capitalism, and global power.

Popular music and masculinity have rarely been examined through the lens of research into monstrosity. The discourses associated with rock and pop, however, actually include more 'monsters' than might at first be imagined. Attention to such individuals and cultures can say things about the operation of genre and gender, myth and meaning. Indeed, monstrosity has recently become a growing focus of cultural theory. This is in part because monsters raise shared concerns about transgression, subjectivity, agency, and community. Attention to monstrosity evokes both the spectre of projection (which invokes familial trauma and psychoanalysis) and shared anxieties (that in turn reflect ideologies and beliefs). By pursuing a series of insightful case studies, Scary Monsters considers different aspects of the connection between music, gender and monstrosity. Its argument is that attention to monstrosity provides a unique perspective on the study of masculinity in popular music culture.

"Weird Westerns is an exploration of the hybrid genre of the weird western, analyzing movies, TV shows, and comic books such as Django Unchained, The Walking Dead, and Wynonna Earp"--

Stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens--typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and major obstacles to lead humanity toward a restored future? This book examines the familiar trope of the hero and the recasting of contemporary anxieties in films like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world.

Black Neo-Victoriana is the first book-length study on contemporary re-imaginations of Blackness in the long nineteenth century. Contributions engage with novels, drama, film, television and material culture, while also covering cultural formations such as Black fandom, Black dandyism, or steamfunk.

There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.

A comprehensive survey of capitalism's colonialist roots and uncertain future Those who control the world’s commanding economic heights, buttressed by the theories of mainstream economists, presume that capitalism is a self-contained and self-generating system. Nothing could be further from the truth. In this pathbreaking book—winner of the Paul A. Baran-Paul M. Sweezy Memorial Award—radical political economists Utsa Patnaik and Prabhat Patnaik argue that the accumulation of capital has always required the taking of land, raw materials, and bodies from noncapitalist modes of production. They begin with a thorough debunking of mainstream economics. Then, looking at the history of capitalism, from the beginnings of colonialism half a millennium ago to today’s neoliberal regimes, they discover that, over the long haul, capitalism, in order to exist, must metastasize itself in the practice of imperialism and the immiseration of countless people. A few hundred years ago, write the Patnaiks, colonialism began to ensure vast, virtually free, markets for new products in burgeoning cities in the West. But even after slavery was generally abolished, millions of people in the Global South still fell prey to the continuing lethal exigencies of the marketplace. Even after the Second World War, when decolonization led to the end of the so-called “Golden Age of Capitalism,” neoliberal economies stepped in to reclaim the Global South, imposing drastic “austerity” measures on working people. But, say the Patnaiks, this neoliberal economy, which lives from bubble to bubble, is doomed to a protracted crisis. In its demise, we are beginning to see – finally – the transcendence of the capitalist system.

This volume reiterates the relevance of imperialism in the present, as a continuous arrangement, from the early years of empire-colonies to the prevailing pattern of expropriation across the globe. While imperialism as an arrangement of exploitation has sustained over ages, measures deployed to achieve the goals have gone through variations, depending on the network of the prevailing power structure. Providing a historical as well as a conceptual account of imperialism in its ‘classical’ context, this collection brings to the fore an underlying unity which runs across the diverse pattern of imperialist order over time. Dealing with theory, the past and the contemporary, the study concludes by delving into the current conjuncture in Latin America, the United States and Asia. The Changing Face of Imperialism will provide fresh ideas for future research into the shifting patterns of expropriation – spanning the early years of sea-borne plunder and the empire-colonies of nineteenth-century to contemporary capitalism, which is rooted in neoliberalism, globalization and free market ideology. With contributions from major experts in the field, this book will be a significant intervention. It will be of interest to scholars and researchers of economics, politics, sociology and history, especially those dealing with imperial history and colonialism.

This book of essays is written in honour of James Petras, in recognition of his intellectual achievements and political interventions—his steadfast principles, distinguished scholarship, extraordinary writing and uncompromising dedication to the popular struggles of millions across the world. In recognition of his lifetime of significant contributions and central role in the global struggle for social justice, the authors of this collection, each a leading scholar in his own right, address some of the most critical issues of our time: those of imperialism, crisis and class struggle. These issues allow the authors to identify both the ‘the enduring verities and contemporary face of capitalism’ and James Petras’ contributions to their work and that of others. Contributors are Berch Berberoglu, Tom Brass, Ronald H. Chilcote, Raúl Delgado Wise, John Bellamy Foster, Hannah Holleman, Ashok Kumbamu, Fernando Leiva, Stephen Lendman, Morris Morley, Michael Parenti, and Henry Veltmeyer.