Memory Politics and Popular Culture – The Example of the United Red Army in the Manga Red (2006–2018)

Chapter Two. Bruce Lee Between Popular Culture and Cultural Politics

Globalized Muslim Youth in the Asia Pacific: Popular Culture in Singapore and Sydney

Popular culture and the media play an integral role in shaping public perceptions concerning the geographies of military activities and power. Critical approaches in studying military geography have started to pay closer attention to cultural representations of the military and their constitutive role in legitimizing and justifying military presence and practices within varying geographical contexts. It is important to note that there is no definitive or coherent scholarship on the topic of military geographies of popular culture. Therefore, this review does not chart a single cohesive body of scholarship. Instead, it offers an illustrative account of the interdisciplinary nature of studying the popular cultural geographies of militarism and militarization. There are several ways in which geographical scholarship, especially in the field of popular geopolitics, has contributed to understanding the relationship between the military and popular culture. First, geographical work has offered critical insights into the political-economic structures of what has been termed the “military-entertainment complex,” revealing the intimate symbiotic relationship between military institutes and the entertainment industries. Second, and where the predominant focus lies, geography has brought critical attention to the cultural politics of popular military representation. This has involved a detailed critical analysis of various popular cultural forms, texts, and visual media, exposing the geopolitical imaginaries that are both reflective and constitutive of the militarized violence they depict. More recently, such work has been advanced through an interest in material cultures and “more-than-representational” accounts to consider how cultures of militarism become embedded within the context of everyday geographies. Finally, geographers have reflected on the significance of place and the everyday situated contexts in which popular militarized cultures are embedded, experienced, and negotiated. Such work has considered the role of scale, highlighting how cultures of militarism are performed and internalized, especially within the domestic setting. Such work has adopted in-depth qualitative methodological approaches to recognize how popular forms of militarism are experienced in everyday life. The review article begins with an overview of the interdisciplinary work that seeks to expose and explore the military-entertainment complex. It then proceeds with thematic sections drawing attention to how scholars, within and beyond the discipline of human geography, have critically analyzed an array of diverse popular cultural militarized texts, representations, and material objects. It ends by drawing attention to the emergent methodological approaches and techniques to studying popular military geographies.

State of Ambiguity: Civic Life and Culture Cuba's First Republic, edited by Steven Palmer, Jose Antonio Piqueras, and Amparo Sanchez Cobos. Durham, Duke University Press, 2014. 376 pp. $94.95 US (cloth), $26.95 US (paper). The historiography on Cuba's republican period (1902-1958) has long languished alongside the growing historiography on the Wars of Independence and the revolutionary period. True, there are a few clusters of excellent studies on labour, race, and to a lesser extent, women and gender the republican period. But for the most part, the period has either been caricatured as a failed experiment democratic politics and a neocolony groaning under the weight of US exploitation, or else has been studied merely order to understand the underlying structural conditions that gave rise to the revolution of 1959. (Eminent Cuban historian Jorge Ibarra's 1995 book on the republican period, translated into English as Prologue to Revolution (Boulder, 1998), epitomizes this approach.) The new anthology State of Ambiguity: Civic Life and Culture Cuba's First Republic happily makes an important intervention into this lacuna. The volume draws on historians from an unusually wide geographic base, particularly scholars based Cuba, Canada, and Spain, and it thus benefits from engagement with a broad swath of historiography. The collection showcases the new themes and methods that characterize the emerging scholarship on the republican period, such as environmental history, urban history, the history of science, the politics of memory and memorialization, and various approaches to popular and elite culture. Collectively, the articles give us a sense of the richness of the period and the important historical work that still needs to be done. Editors Steven Palmer, Jose Antonio Piqueras, and Amparo Sanchez Cobos provide a thought-provoking introduction that asks us to take republican history on its own terms. They ask that we see the republic in terms of ambiguity rather than betrayal, failure, domination, or liminality (11). Bookended by the end of Spanish colonialism and US occupation 1902, on the one hand, and the 1959 revolution that would soon declare itself socialist, on the other, the period has defied easy categorization. Yet the editors quickly dispense with standard assumptions about Cuban exceptionality. Instead they point out the many parallels between Cuban history and that of other Latin American countries the same period. They even find fruitful comparisons with interwar Germany, suggesting we view Republican Cuba as a tropical Weimar (7)--that is, a political experiment rich with possibility yet also circumscribed by political instability, the ascendancy of foreign capital, and the threat of foreign intervention. They highlight the remarkably promising set of political, social, and economic conditions that the newly independent nation enjoyed. …

Star Signatures:A Cultural Studies Analysis of Máire Nic Shiubhlaigh's Notebook Sean McCarthy (bio) In Celebrity Power, P. David Marshall argues that the apparent divisions between public figures such as celebrities, politicians, and pop stars are not as firm as we would like to think. He argues that in the mediated realm of contemporary culture, "there is a convergence in the source of power between the political leader and other forms of celebrity" (1997, 19). Marshall's work draws on a lineage of cultural studies scholars such as Richard Dyer who situate popular culture forms, practitioners, and practices as legitimate objects of analysis that can be viewed as sites of political power and contestation in their own right. Moreover, a cultural studies lens is not only a view from above: a notable product of this type of analysis is how the audience comes sharply into focus. It is the audience, after all, who sanctions the celebrities and buys the products they endorse. Even if the audience's agency is more the product of group feeling or affect than of direct political intervention, as many have argued, it is still an important, though often neglected, force in the dynamics of political power from a cultural studies perspective. [End Page 49] Molly O'Hagan Hardy's analysis of Maire Nic Shiubhlaigh's autograph book (2010) suggests that the convergence of political with other forms of celebrity power can also be read historically. Hardy maps the journey of a collection of autographs of Irish revolutionaries from signature collector to archive and examines the available narratives that attempt to explain this obscure notebook. Specifically, Hardy asks us to question the established interpretation of the notebook as a means of locating and identifying members of the underground revolutionary movement in Dublin after the 1916 Easter Rising. Instead, she suggests that the notebook represents "a feeling that explains more about the public than the political culture of the Irish struggle for independence" (47). By shifting the interpretive frame in this way, Hardy repositions the notebook from being a revolutionary tool (an argument that seems spurious at best) to being a product of affect that blurs the boundaries between popular and political cultures. In the following comments, I wish to build on Hardy's interpretation of the Nic Shiubhlaigh notebook and to present a short analysis of a scene in Jamie O'Neill's novel, At Swim, Two Boys (2001), to show how contemporary reconstructions of the revolutionary period in Ireland are beginning to make popular culture a central theme. Drawing on work by Dorothy Macardle, Kathleen Clarke, and others, Hardy reconstructs the return of the political prisoners from the internment camps in 1917 as a moment of great catharsis. This groundswell of public affect produced by the prisoners' release was certainly driven by the political role they played, but politics alone does not fully capture the feeling. The public identity of many of the prisoners was far more complex than that: they were pamphleteers, poets, orators, playwrights, and actors, and were often glamorous socialites in nationalist Irish social circles. The 1916 Easter Rising sealed their reputations and catapulted them into genuine stardom. Reading this collection of autographs in Nic Shiubhlaigh's notebook consequently suggests the power of these figures not only as revolutionary politicians, but also as stars in the popular imagination who populated front-page stories in the broadsheets, dominated gossip in the pubs, and were elevated to mythical status in popular songs. Such a reading also allows us to think of Nic Shiubhlaigh not only as foot soldier in the anti-imperial effort but also as a fan of the famous public [End Page 50] figures who so inspired her. Thus, when we read in Nic Shiubhlaigh's autobiography the story of a spirited young actress and self-described revolutionary who "hated to leave" the Abbey but brought with her the revolutionary impetus and connections that "the theatre had begun in the first place" (Nic Shiubhlaigh 1955, 137), we can begin to see how literary and popular culture were not outside politics but quite possibly a site of its production. How many of Nic Shiubhlaigh's ideas about the future of her...

Preface Bob Franklin 1. Introduction: The press and popular culture in interwar Europe Sarah Newman and Matt Houlbrook 2. An Organ of Uplift?: The popular press and political culture in interwar Britain Adrian Bingham 3. Press Advertising and Fascist Dictates: Showcasing the female consumer in Fascist Italy and Nazi Germany Bianca Gaudenzi 4. The Political Cartoon as Educationalist Journalism: David Low's portrayal of mass unemployment in interwar Britain Mark Hampton 5. Gentleman, Journalist, Gentleman-journalist: Gossip columnists and the professionalisation of journalism in interwar Britain Sarah Newman 6. Fashion for All?: The transatlantic fashion business and the development of a popular press culture during the interwar period Veronique Pouillard 7. The Creation of European News: News agency cooperation in interwar Europe Heidi Tworek 8. Crowds, Culture and Power: Mass politics and the press in interwar France Jessica Wardhaugh 9. You Will Find Germany in Peace and Order: Edward Meeman, an American journalist who praised and condemned Nazi Germany Dale Zacher

In this entirely sophisticated and scholarly account of political culture, Arthur Asa Berger shows how the variety of cultural preferences creates the foundations of communication theory. Using the work of Aaron Wildavsky, the author shows how individualism, egalitarianism, collectivism, and fatalism form the basis of culture in complex societies. But more importantly, Berger breaks down the mechanical distinction between mass culture and elite culture, showing how they interpenetrate and crossover at the level of competitive and hierarchical frames. Agitpop, now in paperback, suggests that there is an ideological content to our popular culture, even though the creators no less than the consumers of that culture are either unaware or dimly aware that they are creating works with an ideological bent. The work takes up in quick order two examples from different areas of the hierarchical, individualist, egalitarian, and fatalist cultures. From football games to the Iran-Contra Hearings, from MTV to the Human Potential Movement, from Max Headroom to humor on the Jews, and from wrestling to The Terminator, Berger takes up his master themes with a deft touch of his own. Weaving in the work of scholars from Emile Durkheim to Aaron Wildavsky he manages to make each of the chapters very much his own. For those who know the earlier work of this author, the reader will be very much at home; for those new to Berger, the volume will be a joyous revelation. The final three chapters reveal a deeper aspect of Berger's work. His interpretation of the earlier materials in terms of the semiotics of power, of textual analysis, or deconstruction of the media, and finally, an analysis and self-analysis of the larger research agenda of which this work is pivotal, should make this book central to the theoretical construction of popular and political culture. For people working in communications theory, political culture, and the sociology of knowledge, this book is a must; for everyone else, it is a joy.

1. ANTHROPOLOGY, LATIN AMERICA, AND THE CARIBBEAN Why Study the Anthropology of Latin America and the Caribbean? Doing Cultural Anthropology and Documenting Everyday Life Controversies: The Culture of Poverty and Perspectives on the Poor 2. INTRODUCING LATIN AMERICA AND THE CARIBBEAN Delimiting and Imagining Latin America: Ideas, Spaces, and Places Countries and Population Migration and Cities Languages Landscapes, Culture and Society Major Landscapes Landscape Transformations Before and After the Europeans Controversies: Is the Culture Area Concept Still Useful? 3. SOCIETY AND CULTURE BEFORE THE EUROPEANS Anthropological Perspectives on the Evolution of Social Complexity Phases in the Emergence of Societal Complexity in Latin America and the Caribbean The Incan and Aztec States Controversies: The Peopling of the Americas 4. CONQUEST, COLONIALISM, AND RESISTANCE The European Conquests The Colonial Period Ethnogenesis Colonial Legacies, Independence, and the Coalescence of Nation-States Controversies: The Quincentennial, or Remembering Columbus 5. CULTURAL POLITICS OF RACE AND ETHNICITY Racial Categories and Racial Fluidity in Latin America Colonialism, Empire, and the Invention of Race Mestizos and Mestizaje: Class, Race, and Nation The Rise of Ethnicity and Ethnic Movements Ethnicity, Nationalism, and Gender Controversies: Intellectual Property Rights and Indigenous Peoples In the United States: Race and Respect in the Streets of New York City 6. CULTURAL CONSTRUCTIONS OF GENDER AND SEXUALITY Pre-European Gender Systems The Conquest and Colonial Period Gender and the Consolidation of Nation-States Femininity and Masculinity: Rethinking Marianismo and Machismo Shifting Contours of Masculinity, Femininity, and Sexual Identities Controversies: Gender, Masculinity, and Violence in Amazonian Societies In the United States: Courtship, Sexuality, and Love Across the Border 7. RELIGION AND EVERYDAY LIFE Popular Catholicism The Spread of Protestantism The African Heritage: Candomble, Santeria, and Vodou Controversies: Mesoamerican Civil -Religious Cargo Systems In The United States: Re-Creating Vodou in Brooklyn 8. STRIVING FOR HEALTH AND COPING WITH ILLNESS Medical Anthropology The Poor Health of Latin America and the Caribbean Folk Illnesses: Susto, Mal de Ojo, and Nervios The Expressive and Healthy Body Religion and Healing Controversies: Marijuana and Coca, Health and Politics In The United States: Susto and Mal de Ojo Among Florida Farmworkers 9. FOOD, CUISINE, AND CULTURAL EXPRESSION Food and Culture Historical and Cultural Sketch of Latin American Food Food, Consumption, and Ritual Communicating Gender and Sexuality Through Food Cuisine, Cookbooks, and Nation-Building Controversies: Hot and Cold Foods In the United States: Tamales, Gender, and Survival 10. PERSPECTIVES ON GLOBALIZATION Globalization Tourism, Crafts, and Cultural Authenticity Transnational Production and Labor Global Interests and the Environment Controversies: Global Interests and Ethnographic Representations in the Amazon In The United States: Domestic Workers in the Midst of Affluence 11. MANIFESTATIONS OF POPULAR CULTURE What is Popular Culture? Sports? Carnaval and Popular Celebrations Music and Dance Television and Telenovelas Controversies: Tango and Sexuality In The United States: Quinceaneras, Gender, and Tradition 12. VIOLENCE, MEMORY, AND STRIVING FOR A JUST WORLD Violence and Memory The Central American Civil Wars Chile's Pinochet Argentina's Dirty War Colombia's Violencia Mexico's Zapatista Peru's Shining Path Controversies: Rigoberta Menchu, and the Politics of Memory and Culture In The United States: Fleeing War and Reconstituting New Lives

Political marketing for power often uses popular culture to achieve it. Popular culture, which prioritises packaging over substance, is becoming increasingly thinner and thinner, especially when other passengers are infiltrated into its fragile body. The purpose of this paper is to analyse the practice of popular culture in politics whose ultimate goal is the attainment of power. The fragility opens up wide opportunities for the accommodation of other interests, which are always present in public life. Popular culture itself is already poor in substance, will become even more banal with relations with other fields. So the relationship between popular culture and politics falls into the "ideology" of inevitability. A multifaceted reading of politics and popular culture allows for other findings, but in this study we see that humans instinctively have the desire for power, he is anxious if it is not achieved. Sublimation is done so that anxiety can still be done, so that the desire for power is released. Popular culture provides space for that.

Teaching & Learning Guide for: Politics, Print Culture and the Habermas Thesis Cluster

Whether it's television, radio, concerts, live appearances by comedians, Internet websites, or even the political party conventions themselves, the mixing of politics and popular culture is frequently on display. The Encyclopedia of Politics, the Media, and Popular Culture examines the people, major events, media, and controversies in eight thematic chapters and over 150 entries to provide an invaluable resource for any student, scholar, or everyday political junkie needing a comprehensive introduction to the subject. On a typical weeknight in the United States, millions shun the traditional evening network news broadcasts and, instead, later grab their remotes to turn to Comedy Central to catch up on the political happenings of the day, delivered by the comedian Jon Stewart on the faux news program, The Daily Show. Immediately afterwards, they might stay tuned to The Colbert Report for another dosage of hilarious, fake news that, to them, comes across more honestly than the serious version they could watch on CNN. Whether it's television, radio, concerts, live appearances by comedians, Internet websites, or even the political party conventions themselves, the mixing of politics and popular culture is frequently on display. The Encyclopedia of Politics, the Media, and Popular Culture provides in-depth coverage of these fascinating, and often surprising intersections in both historical and contemporary culture. This highly readable and entertaining encyclopedia provides a sweeping survey of the historic and ongoing interplay between politics, the media, and popular culture in eight thought-provoking chapters. The volume is enhanced with the inclusion of over 150 entries to help students and researchers easily locate more in-depth information on topics ranging from political scandals to YouTube.

This essay falls into two parts. First, an analysis of the changing ways in which the Auschwitz Sonderkommando have been discussed, with particular reference to the sources of our knowledge of them, developments in historiography, and the ways in which they have been represented in museums and popular culture. The second part of the essay explores these issues in more depth via a case study focusing on the story of four women – Ala Gertner, Roza Robota, Regina Safirsztajn and Estera Wajcblum – who were hanged in Auschwitz on 5/6 January 1945 for smuggling explosives to the Sonderkommando. This case study facilitates a detailed exploration of the ‘politics of memory’ and gendered memory in relation to the Sonderkommando in general and these four women in particular.

Identity and pleasure: The politics of Indonesian screen culture by ARIEL HERYANTO Singapore: NUS Press and Kyoto University Press, 2014. Pp. 268. Bibliography, Index. Ariel Heryanto has once again approached the subject of Indonesian popular culture in his new book, Identity and pleasure: The politics of Indonesian screen culture. This book further analyses the relationship between Indonesian politics, gender issues and popular culture he briefly discussed in an earlier edited volume (Popular culture in Indonesia). Heryanto focuses here on the relationship between popular culture and the development of Indonesian national identity, as well as forgotten or ignored aspects of the history that went into its making, using the concept of public 'amnesia' as a theme (p. 4). This book applies cultural and ethnographic approaches to the analysis of local cinema and audience responses and the development of national identity. Heryanto elaborates how popular culture is used by both the government and the people in the development of hegemonic values and national ideology, but at the cost of forgetting or dismissing parts of Indonesia's modern history. Islamisation in Indonesian films is the topic of the second, third and fourth chapters of the book. Heryanto points out how popular films such as 'Ayat-ayat cinta' (Love verses) reflect public interest in both piety and modernity, allowing the public, especially young Muslims, to enjoy the pleasures of the modern world without abandoning their faith (p. 30). The synchronisation of religious values and cultural tastes is a recurring characteristic of the Indonesian public, and it is actively shown through audience acceptance of local films with protagonists who represent both Islamic values and material desires. The fourth chapter of the book then connects the spread of Islamisation with Suharto-era film and media propaganda. This chapter not only describes how the 1984 film 'Pengkhianatan G30S/PKT (The treason of G30S/PKI) successfully spread the New Order government's agenda of demonising communism and leftists (pp. 80, 81), but also discusses the negative outcome for Indonesian viewers of accepting this movie as the only source of information on the events of 1965 (p. 85). Heryanto analyses the public's lack of awareness of the facts of the 1965 massacres and failure to pursue the truth. He also mentions that Joshua Oppenheimer's 2012 'The act of killing was aimed at those with limited or no knowledge of the 1965 events (pp. …

Since the 1980s, softened and positive portrayals of Fascism have become established in public debate in Italy. A key feature in this process of defascistization has been the reduction of Fascism to the cult of the Duce. This article examines how this narrative has emerged, focusing not on the politics of memory but instead on the role of the culture industry, public debate and the media. It examines three distinct but related phenomena: the ‘Mussolinization’ of Fascism in public narrative as promoted by television and other mass media; the transformation of the electoral system and political language, marked specifically by the shift from the centrality of the collective to that of authoritative and charismatic individuals; the prominent place of the figure of the hero in popular culture.

I BEGIN WITH A QUESTION: WHAT SORT OF MOMENT IS THIS IN WHICH TO POSE THE question of black popular culture? These moments are always conjunctural. They have their historical specificity; and although they always exhibit similarities and continuities with other moments in which we pose a question like this, they are never same moment. And combination of what is similar and what is different defines not only specificity of moment, but specificity of question, and therefore strategies of cultural politics with which we attempt to intervene in popular culture, and form and style of cultural theory and criticizing that has to go along with such an intermatch. In his important essay, New Cultural Politics of Difference, Cornel West (1990: 19--36) offers a genealogy of what this moment is, a genealogy of present that I find brilliantly concise and insightful. His genealogy follows, to some extent, positions I tried to outline in an article that has become somewhat notorious (Hall, 1988: 27--31), but it also usefully maps moment into an American context and in relation to cognitive and intellectual philosophical traditions with which it engages. According to Cornel, moment, this moment, has three general coordinates. The first is displacement of European models of high culture, of Europe as universal subject of culture, and of culture itself in its old Arnoldian reading as last refuge.... I nearly said of scoundrels, but I won't say who it is of. At least we know who it was against -- culture against barbarians, against people rattling gates as deathless prose of anarchy flowed away from Arnold's pen. The second coordinate is emergence of United States as a world power and, consequently, as center of global cultural production and circulation. This emergence is both a displacement and a hegemonic shift in definition of culture -- a movement from high culture to American mainstream popular culture and its mass-cultural, image-mediated, technological forms. The third coordinate is decolonization of Third World, culturally marked by emergence of decolonized sensibilities. And I read decolonization of Third World in Frantz Fanon's sense: I include in it impact of civil rights and black struggles on decolonization of minds of peoples of black diaspora. Let me add some qualifications to that general picture, qualifications that, in my view, make this present moment a very distinctive one in which to ask question about black popular culture. First, I remind you of ambiguities of that shift from Europe to America, since it includes America's ambivalent relationship to European high culture and ambiguity of America's relationship to its own internal ethnic hierarchies. Western Europe did not have, until recently, any ethnicity at all. Or didn't recognize it had any. America has always had a series of ethnicities, and consequently, construction of ethnic hierarchies has always defined its cultural politics. And, of course, silenced and unacknowledged, fact of American popular culture itself, which has always contained within it, whether silenced or not, black American popular vernacular traditions. It may be hard to remember that, when viewed from outside United States, American mainstream popular culture has always involved certain traditions that could only be attributed to black cultural vernacular traditions. The second qualification concerns nature of period of cultural globalization in progress now. I hate term the global postmodern, so empty and sliding a signifier that it can be taken to mean virtually anything you like. And, certainly, blacks are as ambiguously placed in relation to postmodernism as they were in relation to high modernism: even when denuded of its wide-European, disenchanted Marxist, French intellectual provenance and scaled down to a more modest descriptive status, postmodernism remains extremely unevenly developed as a phenomenon in which old center/peripheries of high modernity consistently reappear. …