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Native Americans have thrown themselves into filmmaking since the mid-1970s, producing hundreds of films and videos, and their body of work has had great impact on Native cultures and filmmaking itself. With their cameras, they capture the lives of Native people, celebrating community, ancestral lifeways, and identity. Not only artistic statements, the films are archives that document rich and complex Native communities and counter mainstream media portrayals.      Wiping the War Paint off the Lens traces the history of Native experiences as subjects, actors, and creators, and develops a critical framework for approaching Native work. Singer positions Native media as part of a larger struggle for \"cultural sovereignty\"-the right to maintain and protect cultures and traditions. 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Today’s political, technological, and aesthetic landscapes are rife with landmines. In this embattled milieu, leftist filmmakers and conservatives struggle for control of the national imaginary. Amid unprecedented mergers and consolidations, political conservatives have launched major attacks against the National Endowment for the Arts, the Public Broadcasting System, state arts councils, and other sponsors of oppositional programming. Meanwhile, developing technologies like satellites and the Internet have not only altered and globalized communication but also offer untapped possibilities for reconstructing democracies. All of these events signal a radical transformation in how we will view the world in the decades to come.       In States of Emergency, Patricia R. Zimmermann describes the shifting terrains socially engaged documentary artists and experimental filmmakers encounter in the aftermath of these changes. 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A mere decade had passed since the end of the war, and the French public was unprepared to confront the horrors shown in the film-let alone the possibility of French complicity. In fact it would be through Night and Fog that many viewers first learned, as film critic Serge Daney put it, “that the worst had only just taken place.”   An engrossing account of the genesis, production, and legacy of Resnais’s incomparable film, this book documents in extraordinary detail how a film that began as a cinematic spin-off of an educational exhibition on “resistance, liberation, and deportation” went on to become a significant step in the building of a collective consciousness of the tragedy of World War II. Sylvie Lindeperg frames her investigation with the story of historian Olga Wormser-Migot, who played an integral role in the research and writing of Night and Fog-and whose slight error on one point gave purchase to the film’s detractors and revisionists and Holocaust deniers. 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The indigenous and underrepresented majorities in La Paz have used the talk show to publicize their social problems and seek medical and legal assistance from the show’s hosts and the political party they launched. Himpele studies the program in order to identify the possibilities of the mass media as a site for political discourse and as a means of social action.     Charting as well the history of Bolivia’s media culture, Himpele perceptively investigates cinematic media as sites for understanding the modernization of Bolivia, its social movements, and the formation of indigenous identities, and in doing so provides a new framework for exploring the circulation of culture as a way of creating publics, political movements, and producing media.      Jeff D. Himpele is associate director for the McGraw Center for Teaching and Learning at Princeton University. 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