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Ukrainian Cinema: Belonging and Identity during the Soviet Thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry.

There are numerous different democratic systems in Africa, from the Igbo institutions that date back to the 15th century to Western-style democracy introduced by colonial powers. But what does democracy really mean for African nations? And what effect does it have on the lives of their people? This is the first comprehensive examination of the social and political consequences of democracy in Africa. Written from an African philosophical perspective, leading and emerging scholars explore the impact of democracy in a continent dealing not only with the perennial issues of leadership failure, poverty and corruption but also with contemporary global concerns such as immigration, digital media and COVID-19. With a focus first and foremost on the African people, this pioneering volume investigates how the challenges of democracy as a system affect their lived experience. Looking in particular at the sub-Sahara, it reveals the influence that the failures of democracy have on fundamental needs, including allocation of primary resources, autonomy, welfare, free speech and women's rights. African Democracy: Impediments, Promises, and Prospects gives an unflinching insight into the struggles caused by democratic governance in Africa, whilst also, crucially, pointing to its accomplishments and the future possibilities for African nations.

Only recently have philosophers and psychologists begun to consider empirical research methods to inform questions and debates in legal philosophy. With the field ripe for further experimental inquiry, this collection explores the most topical empirical developments and anticipates future research directions. Bringing together legal scholars, psychologists, and philosophers, chapters address questions such as: Do people share a stable set of intuitions about what the law is? What are common perceptions about causation, intentionality, and culpability, and are they consistent with the corresponding legal concepts? To what extent can experimental research methods advance theoretical debates in legal philosophy about the nature of law? With fascinating implications for legal philosophy, ethics, and moral psychology, Advances in Experimental Philosophy of Law sets the agenda for the emerging field of experimental jurisprudence and will be of interest to both researchers and practitioners alike.

Hope is understood to be a significant part of human experience, including for motivating behaviour, promoting happiness, and justifying a conception of the self as having agency. Yet substantial gaps remain regarding the development of the concept of hope in the history of philosophy. This collection addresses this gap by reconstructing and analysing a variety of approaches to hope in late 18th- and 19th-century German philosophy.In 1781, Kant's idea of a "rational hope" shifted the terms of discussion about hope and its role for human self-understanding. In the 19th century, a wide-ranging debate over the meaning and function of hope emerged in response to his work. Drawing on expertise from a diverse group of contributors, this collection explores perspectives on hope from Kant, Fichte, Schelling, Schopenhauer, J. S. Beck, J. C. Hoffbauer, Wilhelm von Humboldt, Georg Friedrich Creuzer, Kierkegaard and others. Chapters consider different aspects of the concept of hope, including the rationality of hope, appropriate and inappropriate applications of hope and the function of hope in relation to religion and society.The result is a valuable collection covering a century of the role of hope in shaping cognitive attitudes and constructing social, political and moral communities. As an overview of philosophical approaches to hope during this period, including by philosophers who are seldom studied today, the collection constitutes a valuable resource for exploring the development of this important concept in post-Kantian German philosophy.

After explaining the importance of diversity audits, this book offers a range of options for how to go about conducting them.Library collections serve as a reflection of their communities and the wider world, and audits are the best way to assess the inclusivity of these collections. In this practical book, Sarah Voels helps libraries meet the challenge of doing a diversity audit.The task of auditing a collection for its diversity is essential to the development of a reflective collection. Conducting a diversity audit gives library professionals a realistic and accurate assessment of the strengths and weaknesses of the materials they provide their readers. Only with this information at hand can libraries work toward improvement. But what's the best way to conduct an audit? What criteria should be used? How can audits be tailored to specific communities? How much will it cost, and how much time will it take?Voels has taken away the guesswork by surveying a wide range of libraries that have performed diversity audits and sharing their successes and challenges. She suggests best practices while acknowledging that each library's specific situation will be unique. All libraries considering a diversity audit will benefit from this guide.

Numbers: A Cultural History provides students with a compelling interdisciplinary view of the development of mathematics and its relationship to world cultures over 4,500 years of human history.Mathematics is often referred to as a "universal language," and that is a fitting description. Many cultures have contributed to mathematics in fascinating ways, but despite its "universal" character, mathematics is also a human endeavor. It has played pivotal roles in societies at particular times; and it has influenced, and been influenced by, a wide range of ideas and institutions, from commerce to philosophy. Ancient Egyptian views of mathematics, for example, are tied closely to engineering and agriculture. Some European Renaissance views, on the other hand, relate the study of number to that of the natural world.Numbers, A Cultural History seeks to place the history of mathematics into a broad cultural context. While it treats mathematical material in detail, it also relates that material to other subject matter: science, philosophy, navigation, commerce, religion, art, and architecture. It examines how mathematical thinking grows in specific cultural settings and how it has shaped those settings in turn. It also explores the movement of ideas between cultures and the evolution of modern mathematics and the quantitative, data-driven world in which we live.

This book addresses a palpable, yet widely neglected, tension in legal discourse. In our everyday legal practices - whether taking place in a courtroom, classroom, law firm, or elsewhere - we routinely and unproblematically talk of the activities of creating and applying the law. However, when legal scholars have analysed this distinction in their theories (rather than simply assuming it), many have undermined it, if not dismissed it as untenable. The book considers the relevance of distinguishing between law-creation and law-application and how this transcends the boundaries of jurisprudential enquiry. It argues that such a distinction is also a crucial component of political theory. For if there is no possibility of applying a legal rule that was created by a different institution at a previous moment in time, then our current constitutional-democratic frameworks are effectively empty vessels that conceal a power relationship between public authorities and citizens that is very different from the one on which constitutional democracy is grounded. After problematising the most relevant objections in the literature, the book presents a comprehensive defence of the distinction between creation and application of law within the structure of constitutional democracy. It does so through an integrated jurisprudential methodology, which combines insights from different disciplines (including history, anthropology, political science, philosophy of language, and philosophy of action) while also casting new light on long-standing issues in public law, such as the role of legal discretion in the law-making process and the scope of the separation of powers doctrine.

This book proposes three liability regimes to combat the wide responsibility gaps caused by AI systems - vicarious liability for autonomous software agents (actants); enterprise liability for inseparable human-AI interactions (hybrids); and collective fund liability for interconnected AI systems (crowds).Based on information technology studies, the book first develops a threefold typology that distinguishes individual, hybrid and collective machine behaviour. A subsequent social science analysis specifies the socio-digital institutions related to this threefold typology. Then it determines the social risks that emerge when algorithms operate within these institutions. Actants raise the risk of digital autonomy, hybrids the risk of double contingency in human-algorithm encounters, crowds the risk of opaque interconnections. The book demonstrates that the law needs to respond to these specific risks, by recognising personified algorithms as vicarious agents, human-machine associations as collective enterprises, and interconnected systems as risk pools - and by developing corresponding liability rules.The book relies on a unique combination of information technology studies, sociological institution and risk analysis, and comparative law. This approach uncovers recursive relations between types of machine behaviour, emergent socio-digital institutions, their concomitant risks, legal conditions of liability rules, and ascription of legal status to the algorithms involved.

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio - and the act of listening - has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's 'Rock & Roll' said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was 'ga ga', even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented 'The Last DJ'. This book explores the cultural fascination with radio; the act of listening as a cultural expression - focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio - as created by these contemporary writers, filmmakers, and musicians.

Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema.The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have-and many contemporary theorists and critics seem to assume-a more intrinsic, almost ontological connection to each other. While early film theorists and critics explicitly addressed questions about secularism, religion, and cinema, once the study of film was professionalized and secularized in the Western academy in both film studies and religious studies, explicit and critical attention to the relationship between cinema and secularism rapidly declined. Indeed, if one canvases film scholarship today, one will find barely any works dedicated to thinking critically about the relationship between cinema and secularism. Extending the recent "secular turn" in the humanities and social sciences, Cinema and Secularism provokes critical reflection on its titular concepts. Making contributions to theory, philosophy, criticism, and history, the chapters in this pioneering volume collectively interrogate the assumption that cinema is secular, how secularism is conceived and related to cinema differently in different film cultures, and whether the world is disenchanted or enchanted in cinema. Coming from intellectually diverse backgrounds in film studies, religious studies, and philosophy, the interdisciplinary contributors to this book cover films and traditions of thought from America, Europe, Africa, the Middle East, South Asia, and East Asia. In these ways, Cinema and Secularism opens new areas of inquiry in the study of film and contributes to the ongoing interrogation of secularism more broadly.

The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

The Czech-Brazilian philosopher Vilém Flusser (1920-1991) has been recognized as a decisive past master in the emergence of contemporary media theory and media archeology. His work engages and also rethinks several mythologies of modernity, devising new methodologies, experimental literary practices, and expanded hermeneutics that trouble traditional practices of literary/literate knowledge, shared experience, reception, and communication. Working within an expanded concept of modernism, Flusser presciently noted the power inherent in algorithmic information apparatuses to reshape our fundamental conceptions of culture and history. In an increasingly technological world, Flusser's form of experimental theory-fiction pits philosophy against cybernetics as it forces the category of "the human" to confront the inhuman world of animals and machines. The contributors to Understanding Flusser, Understanding Modernism engage with the multiplicity of Flusser's thought as they provide a general analysis of his work, engage in comparative readings with other philosophers, and offer expanded conceptualizations of modernism. The final section of the volume includes an extended glossary clarifying the playful terminology used by Flusser, which will be a valuable resource for experts and students alike.

An Independent Book of the MonthPenises, and the things people do with them, have been subjects of controversy for a long time. This book examines how one thing that some people do to penises-remove the foreskin-has become a site upon which vital questions of gender, race, religion, sexuality, and psychic life are negotiated. While most contemporary work on the subject is concerned with whether circumcision is right or wrong, safe or harmful, Circumcision on the Couch takes as its starting point that the significance of male circumcision exceeds anatomical and juridical considerations. Deploying a feminist Lacanian framework, while drawing from a wide range of archival sources and critical thought, Jordan Osserman asks: How can psychoanalysis help us shed light on the ideologies, discourses, and fantasies surrounding circumcision and the impassioned stances for and against it? And how might the history of circumcision, in turn, allow us to re-assess and clarify how we understand the split (or "snipped") subject of psychoanalysis?

One of the most exciting theories to emerge from cognitive science research over the past few decades has been Douglas Hofstadter's notion of "strange loops," from Gödel, Escher, Bach (1979). Hofstadter is also an active literary translator who has written about translation, perhaps most notably in his 1997 book Le Ton Beau de Marot, where he draws on his cognitive science research. And yet he has never considered the possibility that translation might itself be a strange loop.In this book Douglas Robinson puts Hofstadter's strange-loops theory into dialogue with a series of definitive theories of translation, in the process showing just how cognitively and affectively complex an activity translation actually is.

Casino games and traditional card games have rich and idiosyncratic histories, complex subcultures and player practices, and facilitate the flow of billions of dollars each year through casinos and card rooms, and between professional players and amateurs. They have nevertheless been overlooked by game scholars due to the negative ethical weight of "gambling" - with such games pathologized and labelled as deviance or mental illness, few look beyond to unpick the games, their players, and their communities. The Casino, Card and Betting Game Reader offers 25 chapters studying the communities playing these games, the distinctive cultures and practices that have emerged around them, their activities and beliefs and interpersonal relationships, and how these games influence - both positively and negatively - the lives and careers of millions of game players around the world. It is the first of a new series of edited collections, Play Beyond the Computer, dedicated to exploring the play of games beyond computers and games consoles.

At Macedonio Fernández's funeral in 1952, Jorge Luis Borges delivered the following elegy: "In those years I imitated him to the point of transcription, to the point of devout and passionate plagiarism. I felt: Macedonio is metaphysics, Macedonio is literature." This is the first book available in English that collects essays by the world's leading scholars on Macedonio Fernández, one of Borges's most important mentors and a still enigmatic thinker of the early 20th century. Macedonio's philosophy, metaphysics, ethics, and experimental writing laid the foundations for Borges's own theoretical and literary matrix. Nonetheless, Borges helped shape a myth of Macedonio as a thinker who could not translate his oratorial geniality into written intelligibility. So, despite the centrality of Macedonio to Borges's thought, his work has remained almost unknown to English-speaking readers. Contributors to this volume demonstrate, however, that this myth reduces the complexities of Macedonio's life and creative process, as each chapter shines new light on his texts. Conceived as both a companion for new readers of Macedonio's writings and an invitation for specialists to revisit his work through new perspectives, essays in this volume provide extensive background and bibliographical references, as well as English translations of Macedonio's original texts. This collection seeks to serve as a catalyst for the continued discovery and rediscovery of Macedonio Fernández's texts and the ways they might help us to rediscover the singularities of our own present moment.

Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search of new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut, we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.

In addition to contributing significantly to the growing field of Burroughs scholarship, Burroughs Unbound also directly engages with the growing fields of textual studies, archival research, and genetic criticism, asking crucial questions thereby about the nature of archives and their relationship to a writer's work.These questions about the archive concern not only the literary medium. In the 1960s and 1970s Burroughs collaborated with filmmakers, sound technicians, and musicians, who helped re-contextualized his writings in other media. Burroughs Unbound examines these collaborations and explores how such multiple authorship complicates the authority of the archive as a final or complete repository of an author's work. It takes Burroughs seriously as a radical theorist and practitioner who critiqued drug laws, sexual practice, censorship, and what we today call a society of control. More broadly, his work continues to challenge our common assumptions about language, authorship, textual stability, and the archive in its broadest definition.

Faulkner, Aviation, and Modern War frames William Faulkner's airplane narratives against major scenes of the early 20th century: the Great War, the rise of European fascism in the 1920s and 30s, the Second World War, and the aviation arms race extending from the Wright Flyer in 1903 into the Cold War era. Placing biographical accounts of Faulkner's time in the Royal Air Force Canada against analysis of such works as Soldiers' Pay (1926), "All the Dead Pilots" (1931), Pylon (1935), and A Fable (1954), this book situates Faulkner's aviation writing within transatlantic historical contexts that have not been sufficiently appreciated in Faulkner's work. Michael Zeitlin unpacks a broad selection of Faulkner's novels, stories, film treatments, essays, book reviews, and letters to outline Faulkner's complex and ambivalent relationship to the ideologies of masculine performance and martial heroism in an age dominated by industrialism and military technology.

Esfir Shub was the only prominent female director of nonfiction film present at the dawning of the Soviet film industry. She was, in fact, the first woman both to write critical texts on cinema and then practically apply these theorisations in her own films. As such, her syncretism of cinema theory and praxis inspired her to ask questions regarding both the nature of nonfiction film, such as the problem of authenticity and reality, and the function of the artist in society; issues which are still relevant in contemporary discussions about the documentary. Accordingly, this book demonstrates Shub's position not only as a significant filmmaker and recognised member of the early Soviet avant-garde but also as a key figure in global cinema history. Shub deserves recognition both as the founder and ardent promoter of the compilation film genre and as a pioneer of the theory and practice of documentary filmmaking.

Peripheralizing DeLillo tracks the historical arc of Don DeLillo's poetics as it recomposes itself across the genres of short fiction, romance, the historical novel, and the philosophical novel of time. Drawing on theories that capital, rather than the bourgeoisie, is the displaced subject of the novel, Thomas Travers investigates DeLillo's representation of fully commodified social worlds and re-evaluates Marxist accounts of the novel and its philosophy of history. Deploying an innovative re-periodisation, Travers considers the evolution of DeLillo's aesthetic forms as they register and encode one of the crises of contemporary historicity: the secular dynamics through which a society organised around waged work tends towards conditions of under- and unemployment. Situating DeLillo within global histories of uneven and combined development, Travers explores how DeLillo's treatment of capital and labour, affect and narration, reconfigures debates around realism and modernism. The DeLillo that emerges from this study is no longer an exemplary postmodern writer, but a composer of capitalist epics, a novelist drawn to peripheral zones of accumulation, zones of social death whose surplus populations his fiction strives to re-historicise, if not re-dialecticise as subjects of history.

While highlighting the prevailing role of television in Western societies, Art vs. TV maps and condenses a comprehensive history of the relationships of art and television. With a particular focus on the link between reality and representation, Francesco Spampinato analyzes video art works, installations, performances, interventions and television programs made by contemporary artists as forms of resistance to and appropriation and parody of mainstream television. The artists discussed belong to different generations: those that emerged in the 1960s in association with art movements such as Pop Art, Fluxus and Happening; and those appearing on the scene in the 1980s, whose work aimed at deconstructing media representation in line with postmodernist theories; to those arriving in the 2000s, an era in which, through reality shows and the Internet, anybody could potentially become a media personality; and finally those active in the 2010s, whose work reflects on how old media like television has definitively vaporized through the electronic highways of cyberspace.These works and phenomena elicit a tension between art and television, exposing an incongruence; an impossibility not only to converge but at the very least to open up a dialogical exchange.

During the crisis of the Second World War in Britain, official Air Raid Precautions made the management of daily life a moral obligation of civil defence by introducing new prescriptions for the care of homes, animals, and persons displaced through evacuation. This book examines how the Mass-Observation movement recorded and shaped the logics of care that became central to those daily routines in homes and neighbourhoods. Kimberly Mair looks at how government publicity campaigns communicated new instructions for care formally, while the circulation of wartime rumours negotiated these instructions informally. These rumours, she argues, explicitly repudiated the improper socialization of evacuees and also produced a salient, but contested, image of the host as a good wartime citizen who was impervious to the cultural invasion of the ostensibly 'animalistic', dirty, and destructive house guest. Mair also considers the explicit contestations over the value of the lives of pets, conceived as animals who do not work with animal caregivers whose use of limited provisions or personal sacrifice could then be judged in the context of wartime hardship. Together, formal and informal instructions for caregiving reshaped everyday habits in the war years to an idealized template of the good citizen committed to the war and nation, with Mass-Observation enacting a watchful form of care by surveilling civilian feeling and habit in the process.

From the aftermath of World War II to the convulsions of Brexit, festivals have deployed Shakespeare as a model of inclusive and progressive theatre to seek cultural solutions to Europe's multi-faceted crises. Shakespeare on European Festival Stages is the first book to chart Shakespeare's presence at continental European festivals. It examines the role these festivals play in European socio-cultural exchanges, and the impact festivals make on the wider production and circulation of staged Shakespeare across the continent. This collection offers authoritative, lively and informed accounts of the production of Shakespeare at the following festivals: the Avignon Festival and Le Printemps des comédiens in Montpellier (France), the Almagro festival (Spain), Shakespeare at Four Castles (Czech Republic and Slovakia), the International Shakespeare Festival in Craiova (Romania), the Shakespeare festivals in Elsinore (Denmark), Gdansk (Poland), Gyula (Hungary), Itaka (Serbia), Neuss (Germany), Patalenitsa (Bulgaria), Rome and Verona (Italy).Shakespeare on European Festival Stages is essential reading for students, scholars and practitioners interested in Shakespeare in performance, in translation and in a post-national Shakespeare that knows no borders and belongs to all of Europe.

This rhetorical study of the persuasive practice of English Puritan preachers and writers demonstrates how they appeal to both reason and imagination in order to persuade their hearers and readers towards conversion, assurance of salvation and godly living. Examining works from a diverse range of preacher-writers such as William Perkins, Richard Sibbes, Richard Baxter and John Bunyan, this book maps out continuities and contrasts in the theory and practice of persuasion.Tracing the emergence of Puritan allegory as an alternative, imaginative mode of rhetoric, it sheds new light on the paradoxical question of how allegories such as John Bunyan's The Pilgrim's Progress came to be among the most significant contributions of Puritanism to the English literary canon, despite the suspicions of allegory and imagination that were endemic in Puritan culture. Concluding with reflections on how Milton deploys similar strategies to persuade his readers towards his idiosyncratic brand of godly faith, this book makes an original contribution to current scholarly conversations around the textual culture of Puritanism, the history of rhetoric, and the rhetorical character of theology.

This volume considers the possibilities of the term 'transwar' to understand the history of Asia from the 1920s to the 1960s. Recently, scholars have challenged earlier studies that suggested a neat division between the pre- and postwar or colonial/postcolonial periods in the national histories of East Asia, instead assessing change and continuity across the divide of war. Taking this reconsideration further, Transwar Asia explores the complex processes by which prewar and colonial ideologies, practices, and institutions from the 1920s and 1930s were reconfigured during World War II and, crucially, in the two decades that followed, thus shaping the Asian Cold War and the processes of decolonization and nation state-formation. With contributions covering the transwar histories of China, Indonesia, Korea, Japan, the Philippines and Taiwan, the book addresses key themes such as authoritarianism, militarization, criminal rehabilitation, market controls, labor-regimes, and anti-communism. A transwar angle, the authors argue, sheds new light on the continuing problems that undergirded the formation of postwar nation-states and illuminates the political legacies that still shape the various regions in Asia up to the present.

How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising 15 essays and a critical introduction, The Film Archipelago: Islands in Latin American Cinema addresses this question by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematise islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzmán to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontán and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marías, and the Panamanian Caribbean; on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands; and on Cuban, Guadeloupean, Haitian, and Puerto Rican contexts.The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, and fragility and dependency. As a whole, the collection demonstrates to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema.