Indigenous Radio and the Cultural Politics of Voice

Campbell, Stephen. 2018. Border capitalism, disrupted: Precarity and struggle in a Southeast Asian industrial zone. Ithaca, NY: Cornell University Press. Howard, Penny McCall. 2017. Environment, labour and capitalism at sea: “Working the ground” in Scotland. Manchester: Manchester University Press. Millar, Kathleen. 2018. Reclaiming the discarded: Life and labor on Rio's garbage dump. Durham, NC: Duke University Press. Shakya, Mallika. 2018. Death of an industry: The cultural politics of garment manufacturing during the Maoist Revolution in Nepal. Cambridge: Cambridge University Press.

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Minority Rules: The Miao and the Feminine in China's Cultural Politics. By Louisa Schein. Durham, N.C.: Duke University Press, 2000. vxii, 365 pp. $59.95 (cloth); $19.95 (paper).

The Journal of Asian Studies ◽

10.2307/2700128 ◽

2001 ◽

Vol 60 (3) ◽

pp. 845-846

Author(s):

Chas McKhann

Keyword(s):

Cultural Politics ◽

The Feminine ◽

Duke University

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Right to Rock: The Black Rock Coalition and the Cultural Politics of Race.MaureenMahon. Durham, NC, and London, UK: Duke University Press, 2004. ix+317 pp. (Cloth US$89.95; Paper US$24.95)

Transforming Anthropology ◽

10.1111/j.1548-7466.2011.01138_5.x ◽

2011 ◽

Vol 19 (2) ◽

pp. 209-210

Author(s):

Paulla A. Ebron

Keyword(s):

Cultural Politics ◽

Duke University

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Catherine S. Ramírez . The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory . Durham, N.C. : Duke University Press . 2009 . Pp. xxvi, 229. Cloth $79.95, paper $22.95.

The American Historical Review ◽

10.1086/ahr.115.1.243 ◽

2010 ◽

Vol 115 (1) ◽

pp. 243-244

Author(s):

Nan Enstad

Keyword(s):

Cultural Politics ◽

Politics Of Memory ◽

Duke University ◽

Zoot Suit

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Korean opera-film Chunhyang and the trans-cultural politics of the voice

Muzikologija ◽

10.2298/muz0505181j ◽

2005 ◽

pp. 181-193

Author(s):

Jeongwon Joe

Keyword(s):

Cultural Politics ◽

Western Tradition ◽

Standard Practice ◽

Gendered Politics ◽

The Voice

This essay examines a Korean opera-film Chunhyang (2000) to show how it departs from the standard practice of Western opera-film and how its uniqueness is generated by the characteristics of indigenous Korean opera P'ansori. In spite of its uniqueness, however, Chunhyang shows its affinities with its Western sisters by confirming what has been criticized by many feminist scholars as one of the most serious problems in the Western tradition of cinema, especially Hollywood's classical films: namely, the gendered politics of the voice.

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