In Calling Memory into Place, art historian and cultural critic Dora Apel explores the relationship between collective and personal memory and place in a series of reflective essays that are by turns erudite and personal.
David Menconi's Step It Up is an absorbing love letter to the artists, scenes, and sounds of North Carolina's contributions to American popular music.
It's not just gun-toting crooks who abuse refugees, we learn from memoir I Just Wanted to Save My Family, it's also politicians and legal officers filling their personal and national coffers with fines and extortion who profit from criminal human trafficking.
Restored by the World Cinema Project and now available from The Criterion Collection, Djibril Diop Mambéty's cheeky critique of colonialism, Touki Bouki (Journey of the Hyena) reveals a great act of myth-making.
Bishakh's Som's graphic memoir, Spellbound, serves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing.
Peter Guralnick's homage to writing about music, 'Looking to Get Lost', shows how good music writing gets the music into the readers' head.
Natasha Alterici's comic series, Heathen, has single-handedly redeemed the disaster that pop culture has been making of Norse mythology.
Matt Brim's Poor Queer Studies underscores the impact of poorer disciplines and institutions, which often do more to translate and apply transformative intellectual ideas in the world than do their ivory-tower counterparts.
There's so much tragedy present, so many skullduggeries afoot, and so many cruel and vindictive characters in attendance that a sad and heartbreaking ending seems to be an obvious given in Paul Leni's silent film, The Man Who Laughs.
Buster Keaton was aware that the camera can be a catalyst of violence, especially stereotypical violence, for audience consumption -- and that it could also evoke the shared joy of cathartic laughter.