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Shelley Sang-Hee Lee

immigrant store owner as spectacle, signifier, and actor in relation to the issue of Black-Korean relations in Los Angeles during the late twentieth century and argues that the “Black-Korean conflict” was both unwatchable historical phenomenon and eminently watchable (and consumable) media spectacle, in

Laurie Frederik

Kristina Wirtz, Performing Afro-Cuba: Image, Voice, Spectacle in the Making of Race and History . Chicago: University of Chicago Press, 2014. 344 pp. (Paper US$ 30.00) Performing Afro-Cuba is an impressive study of the way stories about the past shape processes of racialization that

Staging Democracy and Multiculturalism

The 1970 Osaka Exposition and the Hawai‘i Pavilion

Sanae Nakatani

main spectacle was a group that performed hula daily at their pavilion. The group was predominantly Japanese American, accompanied by others from various cultural heritages: Hawaiians, Portuguese, and Koreans. By featuring these multicultural hostesses, white and Japanese American male government

Michael Birenbaum Quintero

the spectacle of watching a virtuoso draw dazzling connections between seemingly unrelated texts. The general contours, and even the specific ones, of Chude-Sokei’s argument hold up on consulting the texts he cites. His resolute refusal to predetermine the nature or the location of black politics and

Kristin Hoganson

of causality. From Liberation to Conquest is sometimes better at explaining how war became a spectacle than what the implications of being a spectacle were. Miller seems torn between arguing that representations of war were too inconsistent and multivalent to have specific political consequences

Feminist Film  262 Linh Thuỷ Nguyễn From Unwatchable Life to Consumable Spectacle: On History and the Black-Korean Conflict  280 Shelley Sang-Hee Lee trans riot: Transmasculine of Colour Expressions and Embodiments in the Films of Christopher Lee  297

Aram Han Sifuentes

Chicago Artist Coalition ( cac ), Chicago, il , usa , 4–24 March 2016. The experience of walking into the exhibition space of Leonard Suryajaya’s Chicago Artist Coalition Bolt Residency solo show Don’t Hold On to Your Bones itself is jarring—a spectacle for the senses ( fig. 1 ). The walls

Anke Birkenmaier

for those looking to write the history of popular spectacle in turn-of-the-century Paris. It also shows how interconnected black popular arts, literature, and music were across the Atlantic. Indeed, Chocolat’s circus career (as well as the boxing success of Jack Johnson in the United States and Paris

Ronald Cummings

purposes—concealment, subversion, spectacle, symbolism, resistance, rebellion, mimicry, and parody—and has been a key, if sometimes unacknowledged, part of Caribbean identity, politics, and poetics. They consider its role and meanings within colonial and national histories but also raise questions about

C. Riley Snorton

ballroom culture, where terms like butch and femme queen have been in circulation for several decades. Or with terms like “down low” and “thug,” which hold resonance with an ongoing media spectacle in the United States. Rather than contextualizing his informants’ descriptions of the terminological terrain