When Muslim women from diverse national and cultural contexts meet one another through transnational dialogue and networking, what happens to their sense of identity and social agency? Addressing this question, Meena Sharify-Funk encountered women activists and intellectuals in North America, the Middle East, South Asia and Southeast Asia - women whose lives and visions have become linked by 'the transnational' despite their differing circumstances and intellectual backgrounds. The resultant work provides a rich and cliché-bursting account of women's reflections on a wide range of topics including: the status of women in Islam, the role of women as interpreters of religious norms, the relationship between secular and religious forms of self-identification, perceptions of Islamic-Western relations, experiences of marginalization, and opportunities for empowerment. Giving careful attention both to common threads in Muslim women's experiences and to the unique voices of remarkable women, this is a compelling account of conversations that are bringing new energy and dynamism into women's activism in a world of collapsing distances.

Through the study of a large variety of musical practices from the U.S.-Mexico border, Transnational Encounters seeks to provide a new perspective on the complex character of this geographic area. By focusing not only on norte?a, banda or conjunto musics (the most stereotypical musical traditions among Hispanics in the area) but also engaging a number of musical practices that have often been neglected in the study of this border's history and culture (indigenous musics, African American musical traditions, pop musics), the authors provide a glance into the diversity of ethnic groups that have encountered each other throughout the area's history. Against common misconceptions about the U.S.-Mexico border as a predominant Mexican area, this book argues that it is diversity and not homogeneity which characterizes it. From a wide variety of disciplinary and multidisciplinary enunciations, these essays explore the transnational connections that inform these musical cultures while keeping an eye on their powerful local significance, in an attempt to redefine notions like "border," "nation," "migration," "diaspora," etc. Looking at music and its performative power through the looking glass of cultural criticism allows this book to contribute to larger intellectual concerns and help redefine the field of U.S.-Mexico border studies beyond the North/South and American/Mexican dichotomies. Furthermore, the essays in this book problematize some of the widespread misconceptions about U.S.-Mexico border history and culture in the current debate about immigration.

Insurgent Encounters illuminates the dynamics of contemporary transnational social movements, including those advocating for women and indigenous groups, environmental justice, and alternative—cooperative rather than exploitative—forms of globalization. The contributors are politically engaged scholars working within the social movements they analyze. Their essays are both models of and arguments for activist ethnography. They demonstrate that such a methodology has the potential to reveal empirical issues and generate theoretical insights beyond the reach of traditional social-movement research methods. Activist ethnographers not only produce new understandings of contemporary forms of collective action, but also seek to contribute to struggles for social change. The editors suggest networks and spaces of encounter as the most useful conceptual rubrics for understanding shape-shifting social movements using digital and online technologies to produce innovative forms of political organization across local, regional, national, and transnational scales. A major rethinking of the practice and purpose of ethnography, Insurgent Encounters challenges dominant understandings of social transformation, political possibility, knowledge production, and the relation between intellectual labor and sociopolitical activism. Contributors. Giuseppe Caruso, Maribel Casas-Cortés, Janet Conway, Stéphane Couture, Vinci Daro, Manisha Desai, Sylvia Escárcega, David Hess, Jeffrey S. Juris, Alex Khasnabish, Lorenzo Mosca, Michal Osterweil, Geoffrey Pleyers, Dana E. Powell, Paul Routledge, M. K. Sterpka, Tish Stringer

China’s role in the history of world animation has been trivialized or largely forgotten. In Animated Encounters Daisy Yan Du addresses this omission in her study of Chinese animation and its engagement with international forces during its formative period, the 1940s–1970s. She introduces readers to transnational movements in early Chinese animation, tracing the involvement of Japanese, Soviet, American, Taiwanese, and China’s ethnic minorities, at socio-historical or representational levels, in animated filmmaking in China. Du argues that Chinese animation was international almost from its inception and that such border-crossing exchanges helped make it “Chinese” and subsequently transform the history of world animation. She highlights animated encounters and entanglements to provide an alternative to current studies of the subject characterized by a preoccupation with essentialist ideas of “Chineseness” and further questions the long-held belief that the forty-year-period in question was a time of cultural isolationism for China due to constant wars and revolutions. China’s socialist era, known for the pervasiveness of its political propaganda and suppression of the arts, unexpectedly witnessed a golden age of animation. Socialist collectivism, reinforced by totalitarian politics and centralized state control, allowed Chinese animation to prosper and flourish artistically. In addition, the double marginality of animation—a minor art form for children—coupled with its disarming qualities and intrinsic malleability and mobility, granted animators and producers the double power to play with politics and transgress ideological and geographical borders while surviving censorship, both at home and abroad. A captivating and enlightening history, Animated Encounters will attract scholars and students of world film and animation studies, children’s culture, and modern Chinese history.

An exploration of how personal life-stories, when reconstructed as 'transnational lives,' escape the confines of national histories and open up new avenues for interpreting cultural identity, social mobility, and public memory.

This book examines Muslim women's creative strategies of deploying religious concepts such as ummah, or community, to solve problems of domestic and communal violence, polygamous abuse, sterility, and heteronormativity. By closely reading and examining examples of ummah-building strategies in interfaith dialogues, exchanges, and encounters between Muslim and non-Muslim women in a selection of African and Southeast Asian fictions and essays, this book highlights women's assertive activisms to redefine transnationalism, understood as relationships across national boundaries, as transgeography. Ummah-building strategies shift the space of, or respatialize, transnational relationships, focusing on connections between communities, groups, and affiliations within the same nation. Such a respatialization also enables a more equitable and inclusive remediation of the citizenship of gendered and religious citizens to the nation-state and the transnational sphere of relationships.

This volume explores the notion of German cinema as both a national and increasingly transnational entity. It brings together chapters that analyse the international circuits of development and distribution that shape the emerging films as part of a contemporary “German cinema”, the events and spectacles that help frame and re-frame national cinemas and their discoverability, and the well-known filmmakers who sit at the vanguard of the contemporary canon. Thereby, it explores what we understand as German cinema today and the many points where this idea of national cinema can be interrogated, expanded and opened up to new readings. At the heart of this interrogation is a keen awareness of the technological, social, economic and cultural changes that have an impact on global cinemas more broadly: new distribution channels such as streaming platforms and online film festivals, and audience engagement that transcends national borders as well as the cinema space. International film production and financing further heightens the transnational aspects of cinema, a quality that is often neglected in marketing and branding of the filmic product. With particular focus on film festivals, this volume explores the tensions between the national and transnational in film, but also in the events that sit at the heart of global cinema culture. It includes contributions from filmmakers, cultural managers and other professionals in the field of film and cinema, as well as scholarly contributions from academics researching popular culture, film, and events in relation to Germany.