The Naked Blogger Of Cairo

A Times Higher Education Book of the Year Uprisings spread like wildfire across the Arab world from 2010 to 2012, fueled by a desire for popular sovereignty. In Tunisia, Egypt, Syria, and elsewhere, protesters flooded the streets and the media, voicing dissent through slogans, graffiti, puppetry, videos, and satire that called for the overthrow of dictators and the regimes that sustained them. Investigating what drives people to risk everything to express themselves in rebellious art, The Naked Blogger of Cairo uncovers the creative insurgency at the heart of the Arab uprisings. “A deep dive into the cultural politics of the Arab uprisings...Kraidy’s sharp insights and rich descriptions of a new Arab generation’s irrepressible creative urges will amply reward the effort. Reading Kraidy’s accounts of the politically charted cultural gambits of wired Arab youth rekindles some of the seemingly lost spirit of the early days of the Arab uprisings and offers hope for the future.” —Marc Lynch, Washington Post “The Naked Blogger of Cairo is a superb and important work not just for scholars but for anyone who cares about the relationships between art, the body, and revolution.” —Hans Rollman, PopMatters

Across the Arab world, protesters voiced dissent through slogans, graffiti, puppetry, videos, and satire that called for the overthrow of dictatorial regimes. Investigating what drives people to risk everything to express themselves in rebellious art, Marwan M. Kraidy uncovers the creative insurgency at the heart of the Arab uprisings of 2010–2012.

This book analyzes how reality television fuelled heated polemics over cultural authenticity, gender relations, and political participation in the Middle East.

Why do citizens of states with strict surveillance care so little about their digital privacy? Why do Brazilians eschew geo-tagging on social media? What drives young Indians to friend “foreign” strangers on Facebook and give “missed calls” to people? Payal Arora answers these questions and many more about the internet’s next billion users.

Groundbreaking essays by female activists and scholars documenting women’s resistance before, during, and after the Arab Spring Images of women protesting in the Arab Spring, from Tahrir Square to the streets of Tunisia and Syria, have become emblematic of the political upheaval sweeping the Middle East and North Africa. In Women Rising, Rita Stephan and Mounira M. Charrad bring together a provocative group of scholars, activists, artists, and more, highlighting the first-hand experiences of these remarkable women. In this relevant and timely volume, Stephan and Charrad paint a picture of women’s political resistance in sixteen countries before, during, and since the Arab Spring protests first began in 2011. Contributors provide insight into a diverse range of perspectives across the entire movement, focusing on often-marginalized voices, including rural women, housewives, students, and artists. Women Rising offers an on-the-ground understanding of an important twenty-first century movement, telling the story of Arab women’s activism.

The first book to offer a rigorous, sophisticated analysis of ISIS's rhetoric and why it is so persuasive ISIS wages war not only on the battlefield but also online and in the media. Through a close examination of the words and images ISIS uses, with particular attention to the "digital caliphate" on the web, Philippe-Joseph Salazar theorizes an aesthetic of ISIS and its self-presentation. As a philosopher and historian of ideas, well versed in both the Western and the Islamic traditions, Salazar posits an interpretation of Islam that places speech--the profession of faith--at the center of devotion and argues that evocation of the simple yet profound utterance of faith is what gives power to the rhetoric that ISIS and others employ. At the same time, Salazar contends that Western discourse has undergone a "rhetorical disarmament." To win the fight against ISIS and Islamic extremism, Western democracies, their media, politicians, and counterterrorism agencies must consider radically changing their approach to Islamic extremism.

The Video Game Industry provides a platform for the research on the video game industry to draw a coherent and informative picture of this industry. Previously this has been done sparsely through conference papers, research articles, and popular science books. Although the study of this industry is still stigmatized as frivolous and ‘only’ game oriented, those who grew up with video games are changing things, especially research agendas, the acceptance of studies, and their interpretation. This book describes and defines video games as their own special medium. They are not pinball from which they grew, nor movies which they sometimes resemble. They are a unique form of entertainment based on meaningful interactions between individuals and machine across a growing sector of the population. The Video Game Industry provides a reference foundation for individuals seriously interested in the industry at the academic level. As a result, this book will serve as a reference in curricula associated with video game development for years to come.

This book investigates a shared experience of time and space in the post-civil-war city of Beirut: “the suspended now”. Based on the close analysis of a large corpus of cultural objects; including visual art, literature, architecture and cinema; the book argues that last decades have witnessed a gradual shift in understanding this temporality from being a transitional phase to a more durable experience of precariousness. The theoretically rich analyses take us on a journey through Beirut’s real and imagined geographies, from garbage dumps to real estate advertisements, and from subterranean spaces to martyr’s posters. For scholars of cultural analysis, urban studies, cultural geography and critical theory, the case of post-1990 Beirut offers a fascinating case of neoliberal urban renewal, which challenges existing theories. For scholars of Lebanon and Beirut, this study complements existing work on post-civil-war Lebanese cultural production rooted in trauma studies by its focus on the city’s continual exposure to violence.

This book re-visits how we think about communication and power in the global era. It takes stock of the last fifty years of scholarship, maps key patterns and concepts and sets an agenda for theory and research. The book addresses such questions as: How are national and cultural identities re-fashioned and expressed in the global era? How can we best understand the emergence of multiple and sometimes antagonistic modernities worldwide? How are political struggles fought and communicated on the local-national-global nexus? How do we integrate emerging media environments in global communication studies? Bringing together essays from a range of internationally renowned scholars, this book will be useful to undergraduate and postgraduate students on Media and Communication Studies courses, particularly those studying globalisation and global media. Contributors: Hector Amaya Paula Chakravartty Andrew Crocco Myria Georgiou Le Han Anikó Imre Koichi Iwabuchi Marwan M. Kraidy Sara Mourad Patrick D. Murphy Tarik Sabry Paddy Scannell Piotr M. Szpunar Guobin Yang Barbie Zelizer

A major intervention in media studies theorizes the politics and aesthetics of internet video The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet. In The People Are Not An Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralized and vernacular medium.