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In the aftermath of Covid-19, the subject of ‘empty places’ has gained renewed topicality and resonance. Watching, Waiting presents a collection of essays that brings emptiness into interdisciplinary focus as an object of study that extends beyond the present. The contributors approach the specific interrelationships of photography and place through emptiness by considering historical and contemporary material in equal measure. Drawing on architecture, anthropology, sociology, and public health, among other fields, they provide insights into geographically and temporally diverse production models of empty places and their corresponding complex and sensitive global and local relations, while also tackling the ethics of behaviour and protests that unfold within them. The book's chapters, both photographic and scholarly essays, cover areas that range widely both thematically and geographically, spanning static film footage of Nicosia's Buffer Zone, protest photographs in the wake of the Black Lives Matter movement in Bristol, staged images from the University of Zagreb's ethnological archives, historic landscape and architectural photography, aerial shots of Covid-19 mass graves in Brazil, photos of artificially built field hospitals and quarantine rooms during the pandemic, and images of empty airports at night. Through still and moving images, Watching, Waiting examines the photographic aestheticisation of emptiness, existing stereotypes of ‘empty places’, and transformations of human experiences.
As historian Miguel Antonio Levario explains in this timely book, current tensions and controversy over immigration and law enforcement issues centered on the US-Mexico border are only the latest evidence of a long-standing atmosphere of uncertainty and mistrust plaguing this region. Militarizing the Border: When Mexicans Became the Enemy, focusing on El Paso and its environs, examines the history of the relationship among law enforcement, military, civil, and political institutions, and local communities. In the years between 1895 and 1940, West Texas experienced intense militarization efforts by local, state, and federal authorities responding to both local and international circumstances. El Paso’s “Mexicanization” in the early decades of the twentieth century contributed to strong racial tensions between the region’s Anglo population and newly arrived Mexicans. Anglos and Mexicans alike turned to violence in order to deal with a racial situation rapidly spinning out of control. Highlighting a binational focus that sheds light on other US-Mexico border zones in the late nineteenth and early twentieth centuries, Militarizing the Border establishes historical precedent for current border issues such as undocumented immigration, violence, and racial antagonism on both sides of the boundary line. This important evaluation of early US border militarization and its effect on racial and social relations among Anglos, Mexicans, and Mexican Americans will afford scholars, policymakers, and community leaders a better understanding of current policy . . . and its potential failure.
“If Tina Fey and David Sedaris had a daughter, she would be Maeve Higgins.” —Glamour A startlingly hilarious essay collection about one woman’s messy path to finding her footing in New York City, from breakout comedy star and podcaster Maeve Higgins Maeve Higgins was a bestselling author and comedian in her native Ireland when, at the grand old age of thirty-one, she left the only home she’d ever known in search of something more and found herself in New York City. Together, the essays in Maeve in America create a smart, funny, and revealing portrait of a woman who aims for the stars but sometimes hits the ceiling and the inimitable city that helped make her who she is. Here are stories of not being able to afford a dress for the ball, of learning to live with yourself while you’re still figuring out how to love yourself, of the true significance of realizing what sort of shelter dog you would be. Self-aware and laugh-out-loud funny, this collection is also a fearless exploration of the awkward questions in life, such as: Is clapping too loudly at a gig a good enough reason to break up with somebody? Is it ever really possible to leave home? “Maeve Higgins is hilarious, poignant, conversational, and my favorite Irish import since U2. You’re in for a treat.” —Phoebe Robinson