![]() The lifeblood of any ethnographic project is, of course, the kindness of all those interlocutors who submit to the anthropologist’s ill-formed questions and impertinent conjectures with grace, patience, and wit. I have had plenty of opportunities to reflect on the preposterous timescale of academic production and to marvel at the willingness, nevertheless, of so many people to engage so generously with such an apparently open-ended and uncertain endeavor. Obscene Tendencies: Censorship and the Public Punctum 190Ī great many debts have accumulated over the near decade that it has taken me to research and write this book. Quotidian Eruptions: Aesthetic Distinction and the Extimate Squirm 156 ![]() ![]() We Are the Law!: Censorship Takes to the Streets 115 Who the Hell Do the Censors Think They Are?: Grounds of the Censor’s Judgment 76 Performative Dispensations: The Elementary Forms of Mass Publicity 29 Library of Congress Cataloging-inPublication Data appear on the last printed page of this book.ĬONTENTS Acknowledgments vii INTRODUCTION © 2013 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Designed by Amy Ruth Buchanan Typeset in Minion Pro and Monotype Gill Sans by Keystone Typesetting, Inc. ![]() CINEMA AND THE OPEN EDGE OF MASS PUBLICITYĭuke University Press Durham & London 2013
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