Academic literature on the topic 'Stanley Press (Firm)'

Reina Gossett, Eric A. Stanley, and Johanna Burton, eds., Trap Door: Trans Cultural Production and the Politics of Visibility (Cambridge, MA: MIT Press, 2017), 419 pp. ISBN: 9780262036603 (hardback, $49.95)Katharina Lindner, Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema (London: I. B. Tauris, 2018), 272 pp. ISBN: 9781784536244 (hardback, £72)Saige Walton, Cinema’s Baroque Flesh: Film, Phenomenology, and the Art of Entanglement (Amsterdam: Amsterdam University Press, 2016), 280 pp. ISBN 978 90 8964 951 5 (hardback, €95)Marietta Kesting, Affective Images: Post-apartheid Documentary Perspectives (Albany: State University of New York Press, 2017). vi +278pp. ISBN: 9781438467856 (hardback, $95); ISBN: 9781438467849 (paperback, $29.95)

Andrew Klevan, Aesthetic Evaluation and Film (Manchester: Manchester University Press, 2018), 256 pp, $22.95 (paperback). ISBN: 978-1784991258.Mario Slugan, Noël Carroll and Film: A Philosophy of Art and Popular Culture (New York: Bloomsbury Academic), xi + 218 pp., $103.50 (hardback), ISBN: 978-1-78831-229-5.Wheatley, Catherine, Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema. London: Bloomsbury Academic, 2019, vi + 307 pp., $118 (hardback), ISBN: 9781350113220.

Marina Grishakova and Maria Poulaki, eds. Narrative Complexity: Cognition, Embodiment, Evolution. Lincoln: University of Nebraska Press, 2019, 468 pp., $75.00 (hardcover). ISBN: 9780803296862.Maarten Coëgnarts. Film as Embodied Art: Bodily Meaning in the Cinema of Stanley Kubrick. Brookline: Academic Studies Press, 2019, xxxv + 228 pp., $120 (paperback), ISBN: 978-1-64469-112-0. [Also available for free under a CC BY-NC-ND 4.0 license with support from Knowledge Unlatched, ISBN: 978-1-64469-113-7].Marsha F . Cassidy. Television and the Embodied Viewer: Affect and Meaning in the Digital Age. New York: Routledge, 2020, 216 pp., $155.00, ISBN: 9781138240766.Sarah Cooper. Film and the Imagined Image. Edinburgh: Edinburgh University Press, 2019, 208 pp., $24.95 (paperback), ISBN: 9781474452793.

Rapid urbanization rates impact significantly on the nature of Land Cover patterns of the environment, which has been evident in the depletion of vegetal reserves and in general modifying the human climatic systems (Henderson, et al., 2017; Kumar, Masago, Mishra, & Fukushi, 2018; Luo and Lau, 2017). This study explores remote sensing classification technique and other auxiliary data to determine LULCC for a period of 50 years (1967-2016). The LULCC types identified were quantitatively evaluated using the change detection approach from results of maximum likelihood classification algorithm in GIS. Accuracy assessment results were evaluated and found to be between 56 to 98 percent of the LULC classification. The change detection analysis revealed change in the LULC types in Minna from 1976 to 2016. Built-up area increases from 74.82ha in 1976 to 116.58ha in 2016. Farmlands increased from 2.23 ha to 46.45ha and bared surface increases from 120.00ha to 161.31ha between 1976 to 2016 resulting to decline in vegetation, water body, and wetlands. The Decade of rapid urbanization was found to coincide with the period of increased Public Private Partnership Agreement (PPPA). Increase in farmlands was due to the adoption of urban agriculture which has influence on food security and the environmental sustainability. The observed increase in built up areas, farmlands and bare surfaces has substantially led to reduction in vegetation and water bodies. The oscillatory nature of water bodies LULCC which was not particularly consistent with the rates of urbanization also suggests that beyond the urbanization process, other factors may influence the LULCC of water bodies in urban settlements. Keywords: Minna, Niger State, Remote Sensing, Land Surface Characteristics References Akinrinmade, A., Ibrahim, K., & Abdurrahman, A. (2012). Geological Investigation of Tagwai Dams using Remote Sensing Technique, Minna Niger State, Nigeria. Journal of Environment, 1(01), pp. 26-32. Amadi, A., & Olasehinde, P. (2010). Application of remote sensing techniques in hydrogeological mapping of parts of Bosso Area, Minna, North-Central Nigeria. International Journal of Physical Sciences, 5(9), pp. 1465-1474. Aplin, P., & Smith, G. (2008). Advances in object-based image classification. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, 37(B7), pp. 725-728. Ayele, G. T., Tebeje, A. K., Demissie, S. S., Belete, M. A., Jemberrie, M. A., Teshome, W. M., . . . Teshale, E. Z. (2018). Time Series Land Cover Mapping and Change Detection Analysis Using Geographic Information System and Remote Sensing, Northern Ethiopia. Air, Soil and Water Research, 11, p 1178622117751603. Azevedo, J. A., Chapman, L., & Muller, C. L. (2016). Quantifying the daytime and night-time urban heat island in Birmingham, UK: a comparison of satellite derived land surface temperature and high resolution air temperature observations. Remote Sensing, 8(2), p 153. Blaschke, T., Hay, G. J., Kelly, M., Lang, S., Hofmann, P., Addink, E., . . . van Coillie, F. (2014). Geographic object-based image analysis–towards a new paradigm. ISPRS Journal of Photogrammetry and Remote Sensing, 87, pp. 180-191. Bukata, R. P., Jerome, J. H., Kondratyev, A. S., & Pozdnyakov, D. V. (2018). Optical properties and remote sensing of inland and coastal waters: CRC press. Camps-Valls, G., Tuia, D., Bruzzone, L., & Benediktsson, J. A. (2014). Advances in hyperspectral image classification: Earth monitoring with statistical learning methods. IEEE signal processing magazine, 31(1), pp. 45-54. Chen, J., Chen, J., Liao, A., Cao, X., Chen, L., Chen, X., . . . Lu, M. (2015). Global land cover mapping at 30 m resolution: A POK-based operational approach. ISPRS Journal of Photogrammetry and Remote Sensing, 103, pp. 7-27. Chen, M., Mao, S., & Liu, Y. (2014). Big data: A survey. Mobile networks and applications, 19(2), pp. 171-209. Cheng, G., Han, J., Guo, L., Liu, Z., Bu, S., & Ren, J. (2015). Effective and efficient midlevel visual elements-oriented land-use classification using VHR remote sensing images. IEEE transactions on geoscience and remote sensing, 53(8), pp. 4238-4249. Cheng, G., Han, J., Zhou, P., & Guo, L. (2014). Multi-class geospatial object detection and geographic image classification based on collection of part detectors. ISPRS Journal of Photogrammetry and Remote Sensing, 98, pp. 119-132. Coale, A. J., & Hoover, E. M. (2015). Population growth and economic development: Princeton University Press. Congalton, R. G., & Green, K. (2008). Assessing the accuracy of remotely sensed data: principles and practices: CRC press. Corner, R. J., Dewan, A. M., & Chakma, S. (2014). Monitoring and prediction of land-use and land-cover (LULC) change Dhaka megacity (pp. 75-97): Springer. Coutts, A. M., Harris, R. J., Phan, T., Livesley, S. J., Williams, N. S., & Tapper, N. J. (2016). Thermal infrared remote sensing of urban heat: Hotspots, vegetation, and an assessment of techniques for use in urban planning. Remote Sensing of Environment, 186, pp. 637-651. Debnath, A., Debnath, J., Ahmed, I., & Pan, N. D. (2017). Change detection in Land use/cover of a hilly area by Remote Sensing and GIS technique: A study on Tropical forest hill range, Baramura, Tripura, Northeast India. International journal of geomatics and geosciences, 7(3), pp. 293-309. Desheng, L., & Xia, F. (2010). Assessing object-based classification: advantages and limitations. Remote Sensing Letters, 1(4), pp. 187-194. Dewan, A. M., & Yamaguchi, Y. (2009). Land use and land cover change in Greater Dhaka, Bangladesh: Using remote sensing to promote sustainable urbanization. Applied Geography, 29(3), pp. 390-401. Dronova, I., Gong, P., Wang, L., & Zhong, L. (2015). Mapping dynamic cover types in a large seasonally flooded wetland using extended principal component analysis and object-based classification. Remote Sensing of Environment, 158, pp. 193-206. Duro, D. C., Franklin, S. E., & Dubé, M. G. (2012). A comparison of pixel-based and object-based image analysis with selected machine learning algorithms for the classification of agricultural landscapes using SPOT-5 HRG imagery. Remote Sensing of Environment, 118, pp. 259-272. Elmhagen, B., Destouni, G., Angerbjörn, A., Borgström, S., Boyd, E., Cousins, S., . . . Hambäck, P. (2015). Interacting effects of change in climate, human population, land use, and water use on biodiversity and ecosystem services. Ecology and Society, 20(1) Farhani, S., & Ozturk, I. (2015). Causal relationship between CO 2 emissions, real GDP, energy consumption, financial development, trade openness, and urbanization in Tunisia. Environmental Science and Pollution Research, 22(20), pp. 15663-15676. Feng, L., Chen, B., Hayat, T., Alsaedi, A., & Ahmad, B. (2017). The driving force of water footprint under the rapid urbanization process: a structural decomposition analysis for Zhangye city in China. Journal of Cleaner Production, 163, pp. S322-S328. Fensham, R., & Fairfax, R. (2002). Aerial photography for assessing vegetation change: a review of applications and the relevance of findings for Australian vegetation history. Australian Journal of Botany, 50(4), pp. 415-429. Ferreira, N., Lage, M., Doraiswamy, H., Vo, H., Wilson, L., Werner, H., . . . Silva, C. (2015). Urbane: A 3d framework to support data driven decision making in urban development. Visual Analytics Science and Technology (VAST), 2015 IEEE Conference on. Garschagen, M., & Romero-Lankao, P. (2015). Exploring the relationships between urbanization trends and climate change vulnerability. Climatic Change, 133(1), pp. 37-52. Gokturk, S. B., Sumengen, B., Vu, D., Dalal, N., Yang, D., Lin, X., . . . Torresani, L. (2015). System and method for search portions of objects in images and features thereof: Google Patents. Government, N. S. (2007). Niger state (The Power State). Retrieved from http://nigerstate.blogspot.com.ng/ Green, K., Kempka, D., & Lackey, L. (1994). Using remote sensing to detect and monitor land-cover and land-use change. Photogrammetric engineering and remote sensing, 60(3), pp. 331-337. Gu, W., Lv, Z., & Hao, M. (2017). Change detection method for remote sensing images based on an improved Markov random field. Multimedia Tools and Applications, 76(17), pp. 17719-17734. Guo, Y., & Shen, Y. (2015). Quantifying water and energy budgets and the impacts of climatic and human factors in the Haihe River Basin, China: 2. Trends and implications to water resources. Journal of Hydrology, 527, pp. 251-261. Hadi, F., Thapa, R. B., Helmi, M., Hazarika, M. K., Madawalagama, S., Deshapriya, L. N., & Center, G. (2016). Urban growth and land use/land cover modeling in Semarang, Central Java, Indonesia: Colombo-Srilanka, ACRS2016. Hagolle, O., Huc, M., Villa Pascual, D., & Dedieu, G. (2015). A multi-temporal and multi-spectral method to estimate aerosol optical thickness over land, for the atmospheric correction of FormoSat-2, LandSat, VENμS and Sentinel-2 images. Remote Sensing, 7(3), pp. 2668-2691. Hegazy, I. R., & Kaloop, M. R. (2015). Monitoring urban growth and land use change detection with GIS and remote sensing techniques in Daqahlia governorate Egypt. International Journal of Sustainable Built Environment, 4(1), pp. 117-124. Henderson, J. V., Storeygard, A., & Deichmann, U. (2017). Has climate change driven urbanization in Africa? Journal of development economics, 124, pp. 60-82. Hu, L., & Brunsell, N. A. (2015). A new perspective to assess the urban heat island through remotely sensed atmospheric profiles. Remote Sensing of Environment, 158, pp. 393-406. Hughes, S. J., Cabral, J. A., Bastos, R., Cortes, R., Vicente, J., Eitelberg, D., . . . Santos, M. (2016). A stochastic dynamic model to assess land use change scenarios on the ecological status of fluvial water bodies under the Water Framework Directive. Science of the Total Environment, 565, pp. 427-439. Hussain, M., Chen, D., Cheng, A., Wei, H., & Stanley, D. (2013). Change detection from remotely sensed images: From pixel-based to object-based approaches. ISPRS Journal of Photogrammetry and Remote Sensing, 80, pp. 91-106. Hyyppä, J., Hyyppä, H., Inkinen, M., Engdahl, M., Linko, S., & Zhu, Y.-H. (2000). Accuracy comparison of various remote sensing data sources in the retrieval of forest stand attributes. Forest Ecology and Management, 128(1-2), pp. 109-120. Jiang, L., Wu, F., Liu, Y., & Deng, X. (2014). Modeling the impacts of urbanization and industrial transformation on water resources in China: an integrated hydro-economic CGE analysis. Sustainability, 6(11), pp. 7586-7600. Jin, S., Yang, L., Zhu, Z., & Homer, C. (2017). A land cover change detection and classification protocol for updating Alaska NLCD 2001 to 2011. Remote Sensing of Environment, 195, pp. 44-55. Joshi, N., Baumann, M., Ehammer, A., Fensholt, R., Grogan, K., Hostert, P., . . . Mitchard, E. T. (2016). A review of the application of optical and radar remote sensing data fusion to land use mapping and monitoring. Remote Sensing, 8(1), p 70. Kaliraj, S., Chandrasekar, N., & Magesh, N. (2015). Evaluation of multiple environmental factors for site-specific groundwater recharge structures in the Vaigai River upper basin, Tamil Nadu, India, using GIS-based weighted overlay analysis. Environmental earth sciences, 74(5), pp. 4355-4380. Koop, S. H., & van Leeuwen, C. J. (2015). Assessment of the sustainability of water resources management: A critical review of the City Blueprint approach. Water Resources Management, 29(15), pp. 5649-5670. Kumar, P., Masago, Y., Mishra, B. K., & Fukushi, K. (2018). Evaluating future stress due to combined effect of climate change and rapid urbanization for Pasig-Marikina River, Manila. Groundwater for Sustainable Development, 6, pp. 227-234. Lang, S. (2008). Object-based image analysis for remote sensing applications: modeling reality–dealing with complexity Object-based image analysis (pp. 3-27): Springer. Li, M., Zang, S., Zhang, B., Li, S., & Wu, C. (2014). A review of remote sensing image classification techniques: The role of spatio-contextual information. European Journal of Remote Sensing, 47(1), pp. 389-411. Liddle, B. (2014). Impact of population, age structure, and urbanization on carbon emissions/energy consumption: evidence from macro-level, cross-country analyses. Population and Environment, 35(3), pp. 286-304. Lillesand, T., Kiefer, R. W., & Chipman, J. (2014). Remote sensing and image interpretation: John Wiley & Sons. Liu, Y., Wang, Y., Peng, J., Du, Y., Liu, X., Li, S., & Zhang, D. (2015). Correlations between urbanization and vegetation degradation across the world’s metropolises using DMSP/OLS nighttime light data. Remote Sensing, 7(2), pp. 2067-2088. López, E., Bocco, G., Mendoza, M., & Duhau, E. (2001). Predicting land-cover and land-use change in the urban fringe: a case in Morelia city, Mexico. Landscape and urban planning, 55(4), pp. 271-285. Luo, M., & Lau, N.-C. (2017). Heat waves in southern China: Synoptic behavior, long-term change, and urbanization effects. Journal of Climate, 30(2), pp. 703-720. Mahboob, M. A., Atif, I., & Iqbal, J. (2015). Remote sensing and GIS applications for assessment of urban sprawl in Karachi, Pakistan. Science, Technology and Development, 34(3), pp. 179-188. Mallinis, G., Koutsias, N., Tsakiri-Strati, M., & Karteris, M. (2008). Object-based classification using Quickbird imagery for delineating forest vegetation polygons in a Mediterranean test site. ISPRS Journal of Photogrammetry and Remote Sensing, 63(2), pp. 237-250. Mas, J.-F., Velázquez, A., Díaz-Gallegos, J. R., Mayorga-Saucedo, R., Alcántara, C., Bocco, G., . . . Pérez-Vega, A. (2004). Assessing land use/cover changes: a nationwide multidate spatial database for Mexico. International Journal of Applied Earth Observation and Geoinformation, 5(4), pp. 249-261. Mathew, A., Chaudhary, R., Gupta, N., Khandelwal, S., & Kaul, N. (2015). Study of Urban Heat Island Effect on Ahmedabad City and Its Relationship with Urbanization and Vegetation Parameters. International Journal of Computer & Mathematical Science, 4, pp. 2347-2357. Megahed, Y., Cabral, P., Silva, J., & Caetano, M. (2015). Land cover mapping analysis and urban growth modelling using remote sensing techniques in greater Cairo region—Egypt. ISPRS International Journal of Geo-Information, 4(3), pp. 1750-1769. Metternicht, G. (2001). Assessing temporal and spatial changes of salinity using fuzzy logic, remote sensing and GIS. Foundations of an expert system. Ecological modelling, 144(2-3), pp. 163-179. Miller, R. B., & Small, C. (2003). Cities from space: potential applications of remote sensing in urban environmental research and policy. Environmental Science & Policy, 6(2), pp. 129-137. Mirzaei, P. A. (2015). Recent challenges in modeling of urban heat island. Sustainable Cities and Society, 19, pp. 200-206. Mohammed, I., Aboh, H., & Emenike, E. (2007). A regional geoelectric investigation for groundwater exploration in Minna area, north west Nigeria. Science World Journal, 2(4) Morenikeji, G., Umaru, E., Liman, S., & Ajagbe, M. (2015). Application of Remote Sensing and Geographic Information System in Monitoring the Dynamics of Landuse in Minna, Nigeria. International Journal of Academic Research in Business and Social Sciences, 5(6), pp. 320-337. Mukherjee, A. B., Krishna, A. P., & Patel, N. (2018). Application of Remote Sensing Technology, GIS and AHP-TOPSIS Model to Quantify Urban Landscape Vulnerability to Land Use Transformation Information and Communication Technology for Sustainable Development (pp. 31-40): Springer. Myint, S. W., Gober, P., Brazel, A., Grossman-Clarke, S., & Weng, Q. (2011). Per-pixel vs. object-based classification of urban land cover extraction using high spatial resolution imagery. Remote Sensing of Environment, 115(5), pp. 1145-1161. Nemmour, H., & Chibani, Y. (2006). Multiple support vector machines for land cover change detection: An application for mapping urban extensions. ISPRS Journal of Photogrammetry and Remote Sensing, 61(2), pp. 125-133. Niu, X., & Ban, Y. (2013). Multi-temporal RADARSAT-2 polarimetric SAR data for urban land-cover classification using an object-based support vector machine and a rule-based approach. International journal of remote sensing, 34(1), pp. 1-26. Nogueira, K., Penatti, O. A., & dos Santos, J. A. (2017). Towards better exploiting convolutional neural networks for remote sensing scene classification. Pattern Recognition, 61, pp. 539-556. Oguz, H., & Zengin, M. (2011). Analyzing land use/land cover change using remote sensing data and landscape structure metrics: a case study of Erzurum, Turkey. Fresenius Environmental Bulletin, 20(12), pp. 3258-3269. Pohl, C., & Van Genderen, J. L. (1998). Review article multisensor image fusion in remote sensing: concepts, methods and applications. International journal of remote sensing, 19(5), pp. 823-854. Price, O., & Bradstock, R. (2014). Countervailing effects of urbanization and vegetation extent on fire frequency on the Wildland Urban Interface: Disentangling fuel and ignition effects. Landscape and urban planning, 130, pp. 81-88. Prosdocimi, I., Kjeldsen, T., & Miller, J. (2015). Detection and attribution of urbanization effect on flood extremes using nonstationary flood‐frequency models. Water resources research, 51(6), pp. 4244-4262. Rawat, J., & Kumar, M. (2015). Monitoring land use/cover change using remote sensing and GIS techniques: A case study of Hawalbagh block, district Almora, Uttarakhand, India. The Egyptian Journal of Remote Sensing and Space Science, 18(1), pp. 77-84. Rokni, K., Ahmad, A., Solaimani, K., & Hazini, S. (2015). A new approach for surface water change detection: Integration of pixel level image fusion and image classification techniques. International Journal of Applied Earth Observation and Geoinformation, 34, pp. 226-234. Sakieh, Y., Amiri, B. J., Danekar, A., Feghhi, J., & Dezhkam, S. (2015). Simulating urban expansion and scenario prediction using a cellular automata urban growth model, SLEUTH, through a case study of Karaj City, Iran. Journal of Housing and the Built Environment, 30(4), pp. 591-611. Santra, A. (2016). Land Surface Temperature Estimation and Urban Heat Island Detection: A Remote Sensing Perspective. Remote Sensing Techniques and GIS Applications in Earth and Environmental Studies, p 16. Shrivastava, L., & Nag, S. (2017). MONITORING OF LAND USE/LAND COVER CHANGE USING GIS AND REMOTE SENSING TECHNIQUES: A CASE STUDY OF SAGAR RIVER WATERSHED, TRIBUTARY OF WAINGANGA RIVER OF MADHYA PRADESH, INDIA. Shuaibu, M., & Sulaiman, I. (2012). Application of remote sensing and GIS in land cover change detection in Mubi, Adamawa State, Nigeria. J Technol Educ Res, 5, pp. 43-55. Song, B., Li, J., Dalla Mura, M., Li, P., Plaza, A., Bioucas-Dias, J. M., . . . Chanussot, J. (2014). Remotely sensed image classification using sparse representations of morphological attribute profiles. IEEE transactions on geoscience and remote sensing, 52(8), pp. 5122-5136. Song, X.-P., Sexton, J. O., Huang, C., Channan, S., & Townshend, J. R. (2016). Characterizing the magnitude, timing and duration of urban growth from time series of Landsat-based estimates of impervious cover. Remote Sensing of Environment, 175, pp. 1-13. Tayyebi, A., Shafizadeh-Moghadam, H., & Tayyebi, A. H. (2018). Analyzing long-term spatio-temporal patterns of land surface temperature in response to rapid urbanization in the mega-city of Tehran. Land Use Policy, 71, pp. 459-469. Teodoro, A. C., Gutierres, F., Gomes, P., & Rocha, J. (2018). Remote Sensing Data and Image Classification Algorithms in the Identification of Beach Patterns Beach Management Tools-Concepts, Methodologies and Case Studies (pp. 579-587): Springer. Toth, C., & Jóźków, G. (2016). Remote sensing platforms and sensors: A survey. ISPRS Journal of Photogrammetry and Remote Sensing, 115, pp. 22-36. Tuholske, C., Tane, Z., López-Carr, D., Roberts, D., & Cassels, S. (2017). Thirty years of land use/cover change in the Caribbean: Assessing the relationship between urbanization and mangrove loss in Roatán, Honduras. Applied Geography, 88, pp. 84-93. Tuia, D., Flamary, R., & Courty, N. (2015). 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Lidar: range-resolved optical remote sensing of the atmosphere: Springer Science & Business. Wellmann, T., Haase, D., Knapp, S., Salbach, C., Selsam, P., & Lausch, A. (2018). Urban land use intensity assessment: The potential of spatio-temporal spectral traits with remote sensing. Ecological Indicators, 85, pp. 190-203. Whiteside, T. G., Boggs, G. S., & Maier, S. W. (2011). Comparing object-based and pixel-based classifications for mapping savannas. International Journal of Applied Earth Observation and Geoinformation, 13(6), pp. 884-893. Willhauck, G., Schneider, T., De Kok, R., & Ammer, U. (2000). Comparison of object oriented classification techniques and standard image analysis for the use of change detection between SPOT multispectral satellite images and aerial photos. Proceedings of XIX ISPRS congress. Winker, D. M., Vaughan, M. A., Omar, A., Hu, Y., Powell, K. A., Liu, Z., . . . Young, S. A. (2009). Overview of the CALIPSO mission and CALIOP data processing algorithms. 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Including land cover change in analysis of greenness trends using all available Landsat 5, 7, and 8 images: A case study from Guangzhou, China (2000–2014). Remote Sensing of Environment, 185, pp. 243-257.

The past two decades have seen the publication of at least half a dozen books that consider the part that fairs, circuses, sideshows and freakshows play in the continuing cultural labour to define, categorise and control the human body, including Robert Bogdan’s Freakshow, Rosemarie Garland-Thomson’s Extraordinary Bodies, and her edited collection Freakery, and Rachel Adams’s Sideshow USA. These writers cast the freakshow as a theatre of culture, worthy of critical attention precisely because of the ways in which it has provided a popular forum for staging, solidifying and transforming ideas about the body and bodily difference, and because of its prominence in the project of modernity (Garland-Thomson “From Wonder to Error” 2-13). They point to the theatrical mechanisms by which the freakshow maps cultural anxieties about corporeal difference across ‘suitable’ bodies. For, as Bogdan (3) says, being a freak is far more than a fact of biology. The freak personae that populate the Western cultural imaginary—the fat lady, the bearded lady, the hermaphrodite and the geek—can only be produced by a performative isolation, manipulation and exaggeration of the peculiar characteristics of particular human bodies. These peculiarities have to be made explicit, in Rebecca Schneider’s (1) terms; the horror-inducing tropes of the savage, the bestial and the monstrous have to be cast across supposedly suitable and compliant flesh. The scopic mechanisms of the freakshow as a theatre, as a cabinet of corporeal curiosities in which spectators are excited, amazed and edified by the spectacle of the extraordinary body, thus support the specific forms of seeing and looking by which freak bodies are produced. It would, however, be a mistake to suggest that the titillating threat of this face-to-face encounter with the Levinasian other fully destabilises the space between signifier and signified, between the specific body and the symbolic framework in which it sits. In a somewhat paradoxical cultural manoeuvre, the ableist, sexist and racist symbolic frameworks of the freakshow unfold according to what Deleuze and Guattari (178) would call a logic of sameness. The roles, relationships and representational mechanisms of the freakshow—including the ‘talkers’ that frame the spectator’s engagement with the extraordinary body of the freak—in fact function to delineate “degrees of deviance” (178) or difference from an illusory bodily norm. So configured, the monstrous corporeality of the freak is also monstrously familiar, and is made more so by the freak spectacle’s frequent emphasis on the ways in which non-normative bodies accommodate basic functions such as grooming and eating. In such incarnations, the scenography and iconography of the freakshow in fact draws spectators into performative (mis)recognitions that manage the difference of other bodies by positioning them along a continuum that confirms the stability of the symbolic order, and the centrality of the able, white, male self in this symbolic order. Singular, specific, extraordinary bodies are subject to what might, in a Levinasian paradigm, be called the violence of categorisation and comprehension (“Is Ontology Fundamental?” 9). The circumstances of the encounter reduce the radical, unreadable difference of the other, transporting them “into the horizon of knowledge” (“Transcendence and Height” 12), and transforming them into something that serves the dominant cultural logic. In this sense, Petra Kuppers suggests, “the psychic effects of the freak spectacle have destabilizing effects, assaulting the boundaries of firm knowledge about self, but only to strengthen them again in cathartic effect” (45). By casting traits they abhor across the freak body (Garland-Thomson Extraordinary Bodies 55-56), spectators become complicit in this abhorrence; comforted, cajoled and strangely pleasured by a sense of distance from what they desire not to be. The subversive potential of the prodigious body evaporates (Garland-Thomson “From Wonder to Error” 3; Extraordinary Bodies 78). An evaporation more fully effected, writers on the freakshow explain, as the discursive construct of the freak was drawn into the sphere of medical spectacle in the late nineteenth century. As the symbolic framework for understanding disabled bodies ‘advances’ from the freak, the monster and the mutant to the medical specimen (Garland-Thomson “From Wonder to Error” 13; Extraordinary Bodies 70, 78-80; Synder and Mitchell 370-373; Stephens 492), the cultural trajectory away from extraordinary bodies with the capacity to expand the classes and categories of the human is complete. The medical profession finally fulfils the cultural compulsion to abstract peculiar bodily characteristics into symptoms, and, as Foucault says in The Birth of the Clinic, these symptoms become surveillable, and controllable, within an objective schema of human biology. Physical differences and idiosyncrasies are “enclosed within the singularity of the patient, in that region of ‘subjective symptoms’ that—for the doctor—defines not only the mode of knowledge, but the world of objects to be known” (xi). The freak body becomes no more than an example of human misfortune, to be examined, categorised and cared for by medical experts behind closed doors, and the freakshow fades from the stage of popular culture (Garland-Thomson Extraordinary Bodies 70). There can, of course, be no denying the need to protect people with disabilities from exploitation at the service of a cultural fetish that enacts a compulsion to define and control bodily difference. However, recent debates in disability, cultural and performance studies have been characterised by the desire to reconsider the freakshow as a site for contesting some of the cultural logics it enacts. Theorists like Synder and Mitchell argue that medical discourse “disarms the [disabled] body of its volatile potency” (378), in the process denying people with disabilities a potentially interesting site to contest the cultural logics by which their bodies are defined. The debate begins with Bogdan’s discussion of the ways in which well-meaning disability activists may, in their desire to protect people with disabilities from exploitative practices and producers, have overlooked the fact that freakshows provided people with disabilities a degree of independence and freedom otherwise impossible (280-81). After all, as disabled performer Mat Fraser says in his documentary Born Freak, The Victorian marvels found fame and some fortune, and this actually raised the visibility, even the acceptability, of disabled people in general during a time when you could be attacked on the streets just for looking different. These disabled performers found independence and commanded respect.… If I had been born a hundred years ago, given the alternatives of—what? living the life of a village monster or idiot or being poked or prodded for cataloguing by medical types—there’s no doubt about it, I would have wanted to be in show business. (Born Freak) This question of agency extends to discussion of whether disabled performers like Fraser can, by consciously appropriating the figures, symbols and scenography of the freakshow, start to deconstruct the mechanisms by which this contested sphere of cultural practice has historically defined them, confronting spectators with their own complicity in the construction of the freak. In her analysis of Coney Island’s Sideshows by the Seashore, Elizabeth Stephens reflects on this contemporary sideshow’s capacity to reclaim the political currency of the freak. For Stephens, sideshows are sites in which norms about the body, its limits and capabilities, are theatricalized and transformed into spectacle, but, in which, for this very reason, they can also be contested. Non-normative bodies are not simply exhibited or put on display on the sideshow stage, but are rather performed as the unstable—indeed, destabilising—product of the dynamic interrelationship between performer, audience and theatrical space. (486) Theorists like Stephens (487) point to disabled performers who manipulate the scopic and discursive mechanisms of the sideshow, street performance and circus, setting them against more or less personal accounts of the way their bodies have historically been seen, to disrupt the modes of subjection the freak spectacle makes possible and precipitate a crisis in prescribed categories of meaning. Stephens (485-498) writes of Mat Fraser, who reperformed the historical personal of the short-armed Sealo the Sealboy, and Jennifer Miller, who reperformed the persona of Zenobia the bearded lady, at Sideshows by the Seashore. Sharon Mazer (257-276) writes of Katy Dierlam, who donned a Dolly Dimples babydoll dress to reperform the clichéd fat lady figure Helon Melon, again at Sideshows by the Seashore, counterposing Melon’s monstrous obesity with comments affirming her body’s potent humanity, and quotes from feminist scholars and artists such as Suzy Orbach, Karen Finley and Annie Sprinkle. Sharon Synder and David Mitchell (383) write of Mary Duffy, who reperforms the armless figure of the Venus de Milo. These practices constitute performative interventions into the cultural sphere, aligned with a broader set of contemporary performance practices which contest the symbolic frameworks by which racial and gender characteristics are displayed on the popular stage in similar ways. Their confrontational performance strategies recall, for instance, the work of American performance artist Guillermo Gómez-Peña, who reappropriates colonial and pop cultural figurations of the racialised body in works like Two Undiscovered Amerindians Visit…, in which he and Coco Fusco cast themselves as two caged savages. In such works, Gómez-Peña and his collaborators use parallel performance strategies to engage the “spectacle of the Other-as-freak” (297). “The idea is to exaggerate the features of fear and desire in the Anglo imagination and ‘spectacularize’ our ‘extreme identities’, so to speak, with the clear understanding that these identities have been invented by the surgery of the global media” (297) Gómez-Peña says. These remobilisations of the monstrous operate within the paradigm of the explicit, a term Schneider coined a decade ago to describe the performance art practices of women who write the animalised, sexualised characteristics with which they are symbolically aligned across their own corporeally ‘suitable’ bodies, replaying their culturally assigned identities “with a voluble, ‘in your face’ vengeance” (100), “a literal vengeance” (109). Such practices reclaim the destablising potential of the freak spectacle, collapsing, complicating or exploding the space between signifier and signified to show that the freak is a discursive construct (22-23), and thus for Schneider, following Benjamin, threatening the whole symbolic system with collapse (2, 6). By positioning their bodies as a ground that manifestly fails to ground the reality they represent, these performers play with the idea that the reality of the freak is really just part of the order of representation. There is nothing behind it, nothing beyond it, nothing up the magician’s sleeve—identity is but a sideshow hall of mirrors in which the ‘blow off’ is always a big disappointment. Bodies marked by disability are not commodified, or even clearly visible, in the Western capitalist scopic economy in the same way as Schneider’s women performers. Nevertheless, disabled performers still use related strategies to reclaim a space for what Schneider calls a postmodern politics of transgression (4), exposing “the sedimented layers of signification themselves” (21), rather than establishing “an originary, true or redemptive body” (21) beneath. The contestational logic of these modes of practice notwithstanding, Stephens (486) notes that performers still typically cite a certain ambivalence about their potential. There are, after all, specific risks for people with disabilities working in this paradigm that are not fully drawn out in the broader debate about critical reappropriation of racist and sexist imagery in performance art. Mobilisations of the freak persona are complicated by the performer’s own corporeal ‘suitability’ to that persona, by the familiar theatrical mechanisms of recognition and reception (which can remain undertheorised in meta-level considerations of the political currency of the freakshow in disability and cultural—rather than performance—studies), and by a dominant cultural discourse that insists on configuring disability as an individual problem detached from the broader sphere of identity politics (Sandahl 598-99). In other words, the territory that still needs to be addressed in this emergent field of practice is the ethics of reception, and the risk of spectatorial (mis)recognitions that reduce the political potency of the freak spectacle. The main risk, of course, is that mobilisations of the freak persona may still be read by spectators as part of the phenomenon they are trying to challenge, the critical counterpositions failing to register, or failing to disrupt fully the familiar scopic and discursive framework. More problematically, the counterpositions themselves may be reduced by spectators to a rhetorical device that distances them from the corporeal reality of the encounter with the other, enabling them to interpret or explain the experience of disability as a personal experience by which an individual comes to accommodate their problems. Whilst the human desire to construct narrative and psychological contexts for traumatic experience cannot be denied, Carrie Sandahl (583) notes that there is a risk that the encounter with the disabled body will be interpreted as part of the broader phenomenon Synder and Mitchell describe in Narrative Prosthesis, in which disability is little more than a metaphor for the problems people have to get past in life. In this interpretative paradigm, disability enters a discursive and theoretical terrain that fails to engage fully the lived experience of the other. Perhaps most problematically, mobilisations of the freak persona may be read as one more manifestation of the distinctively postmodern desire to break free from the constraints of culturally condoned identity categories. This desire finds expression in the increasingly prevalent cultural phenomenon of voluntary enfreakment, in which people voluntarily differentiate, or queer their own experience of self. As Fraser says when he finds out that a company of able-bodied freaks is competing with him for audiences at the Edinburgh Fringe Festival, “[t]he irony is, these days, everyone is trying to get in on our act” (Born Freak). In a brave new world where everybody wants to be a freak, activist artists “must be watchful”, Gómez-Peña warns, “for we can easily get lost in the funhouse of virtual mirrors, epistemological inversions, and distorted perceptions” (288). The reclamation of disability as a positive metaphor for a more dispersed set of human differences in the spectacle of daily life (287-98), and in theoretical figurations of feminist philosophy that favour the grotesque, the monstrous and the mechanical (Haraway Simians, Cyborgs and Women; Braidotti Nomadic Subjects), raises questions for Garland-Thomson (“Integrating Disability, Transforming Feminist Theory” 9) and Sandahl (581-83). If “disability serves as a master trope for difference,” Sandahl says, then anybody can adopt it “…to serve as a metaphor expressing their own outsider status, alienation and alterity, not necessarily the social, economic and political concerns of actual disabled people” (583). The work of disabled performers can disappear into a wider sphere of self-differentiated identities, which threatens to withdraw ‘disability’ as a politically useful category around which a distinctive group of people can generate an activist politics. To negotiate these risks, disabled performers need to work somewhere between a specific, minoritarian politics and a universal, majoritarian politics, as Sedgwick describes in Epistemology of the Closet (91; cf. Garland-Thompson “Integrating Disability, Transforming Feminist Theory” 5; cf. Stephens 493). Performers need to make their experience of otherness explicit, so that their corporeal specificity is not abstracted into a symbolic system that serves the dominant cultural logic. Performers need to contextualise this experience in social terms, so that it is not isolated from the sphere of identity politics. But performers cannot always afford to allow the freak persona to become one more manifestation of the myriad idiosyncratic identities that circulate in the postmodern popular imaginary. It is by negotiating these risks that performers encourage spectators to experience—if only fleetingly, and provisionally—a relationship to the other that is characterised not by generalisation, domestication and containment (Levinas “Substitution” 80, 88), but by respect for the other’s radical alterity, by vulnerability, and, in Derrida’s reformation of Levinasian ethics, by a singular, reciprocal and undecidable responsibility towards the other (Derrida 60-70). This is what Levinas would call an ethical relationship, in which the other exists, but as an excess, a class of being that can be recognised but never seized by comprehension (“Is Ontology Fundamental?” 7, “Transcendence and Height” 17), or sublimated as a category of, or complement to, the same (13, “Meaning and Sense” 51). Mat Fraser’s mobilisation of Sealo the Sealboy is one of the most engaging examples of the way disabled performers negotiate the complexities of this terrain. On his website, Fraser says he has always been aware of the power of confrontational presentations of his own body, and has found live forms that blur the boundaries between freakshow, sideshow and conventional theatre the best forums for “the more brutal and confrontational aspect of my investigation into disability’s difficult interface with mainstream cultural concerns” (MatFraser.co.uk). Fraser’s appropriation of Sealo was born of a fascination with the historical figure of Stanley Berent. “Stanley Berent was an American freakshow entertainer from the 1940s who looked like me,” Fraser says. “He had phocomelia. That’s the medical term for my condition. It literally means seal-like limbs. Berent’s stage name was Sealo the Sealboy” (Born Freak). Fraser first restaged Sealo after a challenge from Dick Zigun, founder of the modern Sideshows by the Seashore. He restaged Berant’s act, focused on Berant’s ability to do basic things like shaving and sawing wood with his deformed hands, for the sideshow’s audiences. While Fraser had fun playing the character on stage, he says he felt a particular discomfort playing the character on the bally platform used to pull punters into the sideshow from the street outside. “There is no powerful dynamic there,” Fraser laments. “It’s just ‘come look at the freak’” (Born Freak). Accordingly, after a season at Sideshows by the Seashore, Fraser readapted the experience as a stage play, Sealboy: Freak, in which Sealo is counterposed with the character Tam, “a modern disabled actor struggling to be seen as more than a freak” (Born Freak). This shift in the theatrical mechanisms by which he stages the freak gives Fraser the power to draw contemporary, politically correct spectators at the Edinburgh Fringe Festival into the position of sideshow gawkers, confronting them with their own fascination with his body. A potent example is a post-audition scene, in which Tam says I read this book once that said that the mainstream will only see a disabled performer in the same way they view a performing seal. Very clever, but just mimicry. No. No it can’t be like that anymore. We’ve all moved on. People are no longer more fascinated by how I do things, rather than what I say. I am an actor, not a fucking freak. (Born Freak) But, as Tam says this, he rolls a joint, and spectators are indeed wrapped up in how he does it, hardly attending to what he says. What is interesting about Fraser’s engagement with Sealo in Sealboy: Freak is the way he works with a complicated—even contradictory—range of presentational strategies. Fraser’s performance becomes explicit, expositional and estranging by turns. At times, he collapses his own identity into that of the freak, the figure so stark, so recognisable, so much more harshly drawn than its real-life referent, that it becomes a simulacrum (cf. Baudrillard 253-282), exceeding and escaping the complications of the human corporeality beneath it. Fraser allows spectators to inhabit the horror, and the humour, his disabled identity has historically provoked, reengaging the reactions they hide in everyday life. And, perhaps, if they are an educated audience at the Fringe, applauding themselves for their own ability to comprehend the freak, and the crudity of sideshow display. However, self-congratulatory comprehension of the freak persona is interrupted by the discomforting encounter with Tam, suspending—if only provisionally—spectators’ ability to reconcile this reaction with their credentials as a politically correct audience. What a closer look at mobilisations of the freak in performances such as Fraser’s demonstrates is that manipulating the theatrical mechanisms of the stage, and their potential to rapidly restructure engagement with the extraordinary body, enables performers to negotiate the risk of (mis)recognition embedded in the face-to-face encounter between self and spectator. So configured, the stage can become a site for contesting the cultural logic by which the disabled body has historically been defined. It can challenge spectators to experience—if fleetingly—the uncertainties of the face-to-face encounter with the extraordinary body, acknowledging this body’s specificity, without immediately being able to abstract, domesticate or abdicate responsibility for it—or abdicate responsibility for their own reaction to it. Whilst spectators’ willingness to reflect further on their complicity in the construction of the other remains an open and individual question, these theatrical manipulations can at least increase the chance that the cathartic effect of the encounter with the so-called freak will be disrupted or deferred. References Adams, Rachel. Sideshow USA: Freaks and the American Cultural Imagination. Chicago, IL: University of Chigaco Press, 2001. Baudrillard, Jean. “The Precision of Simulacra”. Art After Modernism: Rethinking Representation. Ed. Brian Wallis. Boston, MA: David R. Godine, 1984, 253-282. Born Freak. Dir. Paul Sapin. Written Paul Sapin and Mat Fraser. Planet Wild for Channel 4 UK, 2001. Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Thought. New York, NY: Columbia University Press, 1994. Bogdan, Robert. Freakshow: Presenting Human Oddities for Amusement and Profit. Chicago, IL: University of Chicago Press, 1988. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis, MN and London: University of Minnesota Press, 1987. Derrida, Jacques. Gift of Death. Trans. David Wills. Chicago IL: University of Chicago Press, 1995. Fraser, Mat. “Live Art”. MatFraser.co.uk. n.date. 30 April 2008 ‹http://www.matfraser.co.uk/live_art.php›. Foucault, Michel. The Birth of the Clinic: An Archeology of Medical Perception. Trans. AM Sheridan Smith. London: Routledge, 1976. Garland-Thomson, Rosmarie. “Integrating Disability, Transforming Feminist Theory”. NSWA Journal 14.3 (2002): 1-33. ———. Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. New York, NY: Columbia University Press, 1997. ———. “Introduction: From Wonder to Error—A Genealogy of Freak Discourse”. Freakery: Cultural Spectacles of the Extraordinary Body. Ed. Rosmarie Garland-Thomspon. New York, NY and London: New York University Press, 1996. Gómez-Peña, Guillermo. “Culture-in-extremis: Performing Against the Cultural Backdrop of the Mainstream Bizarre”. The Performance Studies Reader. Ed. Henry Bial. London and New York: Routledge, 2004, 287-298. Haraway, Donna. Simians, Cyborgs and Women. New York, NY: Routledge, 1991. Kuppers, Petra. Disability and Contemporary Performance: Bodies on Edge. New York, NY: Routledge, 2004. Levinas, Emmanuel. “Is Ontology Fundamental?”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 1-10. ———. “Transcendence and Height”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 11-31. ———. “Meaning and Sense”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 33-64. ———. “Substitution”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 79-95. Mazer, Sharon. “‘She’s so fat…’ Facing the Fat Lady at Coney Island’s Sideshows by the Seashore”. Bodies Out of Bounds: Fatness and Transgression. Ed. Jana Evens Braziel and Kathryn LeBesco. Berkeley, CA: University of California Press, 2001, 257-276. Sandahl, Carrie. “Black Man, Blind Man: Disability Identity Politics and Performance”. Theatre Journal 56 (2004): 597-602. Schneider, Rebecca. The Explicit Body in Performance. New York, NY and London: Routledge, 1997. Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley, CA: University of California Press, 1990. Snyder, Sharon L. and David T Mitchell. “Re-engaging the Body: Disability Studies and the Resistance to Embodiment”. Public Culture, 13.3 (2001): 367-389. ———. Narrative Prosthesis: Disability and the Dependencies of Discourse. Ann Arbor, MI: University of Michigan Press, 2000. Stephens, Elizabeth. “Cultural Fixations of the Freak Body: Coney Island and the Postmodern Sideshow”. Continuum: Journal of Media and Cultural Studies 20.4 (2006): 485-498. Acknowledgements An earlier version of this paper was presented at “Extreme States: Issues of Scale—Political, Performative, Emotional”, the Australasian Association for Drama Theatre and Performance Studies Annual Conference 2007.

No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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American film critics commonly deride Hollywood’s practice of remaking foreign films as an indication of the industry’s creative bankruptcy and imperialist tendencies. Such sentiments occur as early as the 1930s, just as Hollywood gained institutional cohesion and as various countries fostered their local “national” cinemas. This suggests that American critics have consistently held an ambivalent stance toward Hollywood, particularly when situated in relation to the world’s cinemas. Critics have participated in an enduring conflation of the “foreign” with artistic quality and Hollywood with crass commercialism and, concomitantly, reinforced simplistic notions about transnational cinematic flows. Yet within and alongside such reviews, American critics created a rhetorical space for a more nuanced approach to transnational cinema through their use of different critical keywords, points of analysis, and methods of evaluation. This chapter explores the historically changing criteria by which American film critics have evaluated Hollywood’s transnational film remakes as a means of uncovering how the “transnational” operated in popular American film discourse, even if it was not named as such.

Abstract This chapter assesses Richard Nixon and Henry Kissinger’s increasing reliance on their improved relations with the Soviet Union and China. Ambassador Dobrynin suggests that his government will now assist the US in pressuring the North Vietnamese, while in fact it was secretly increasing its aid to Hanoi. The chapter describes the outbreak of war between India and Pakistan, and the administration’s indifference to the slaughter in East Pakistan. Once again State Department concerns are ignored. In their hostility to Indira Gandhi and one-sided support for Yahya Khan, it argues that Nixon and Kissinger made the crisis worse. Underpinning their moves was a desire to preserve Nixon’s Beijing trip, which was coming soon. Kissinger is severely criticized for his handling of the situation and pro-Pakistan stance. In investigating press “leaks” to reporter Jack Anderson, it emerges that the Joint Chiefs of Staff have been spying on the National Security Council. Although Admiral Moorer seems culpable, Nixon decides to retain him.