Bad Aboriginal Art is the extraordinary account of Eric Michaels’ period of residence and work with the Warlpiri Aborigines of western Central Australia, where he studied the impact of television on remote Aboriginal communities.

Sharp, exact, and unrelentingly honest, Michaels records with an extraordinary combination of distance and immersion the intervention of technology into a remote Aboriginal community and that community’s forays into the technology of broadcasting. Michaels’s analyses in Bad Aboriginal Art will disrupt and redirect current debates surrounding the theory and practice of anthropology, ethnography, film and video making, communications policy, and media studies - no less than his work has already disrupted and redirected the cultural technologies of both the Warlpiri and Australian technocrats.

Living in a segregated society, white Americans learn about African Americans not through personal relationships but through the images the media show them. The Black Image in the White Mind offers the most comprehensive look at the intricate racial patterns in the mass media and how they shape the ambivalent attitudes of Whites toward Blacks.

Using the media, and especially television, as barometers of race relations, Robert Entman and Andrew Rojecki explore but then go beyond the treatment of African Americans on network and local news to incisively uncover the messages sent about race by the entertainment industry-from prime-time dramas and sitcoms to commercials and Hollywood movies. While the authors find very little in the media that intentionally promotes racism, they find even less that advances racial harmony. They reveal instead a subtle pattern of images that, while making room for Blacks, implies a racial hierarchy with Whites on top and promotes a sense of difference and conflict. Commercials, for example, feature plenty of Black characters. But unlike Whites, they rarely speak to or touch one another. In prime time, the few Blacks who escape sitcom buffoonery rarely enjoy informal, friendly contact with White colleagues—perhaps reinforcing social distance in real life.

Entman and Rojecki interweave such astute observations with candid interviews of White Americans that make clear how these images of racial difference insinuate themselves into Whites' thinking.

Despite its disturbing readings of television and film, the book's cogent analyses and proposed policy guidelines offer hope that America's powerful mediated racial separation can be successfully bridged.


"Entman and Rojecki look at how television news focuses on black poverty and crime out of proportion to the material reality of black lives, how black 'experts' are only interviewed for 'black-themed' issues and how 'black politics' are distorted in the news, and conclude that, while there are more images of African-Americans on television now than there were years ago, these images often don't reflect a commitment to 'racial comity' or community-building between the races. Thoroughly researched and convincingly argued."—Publishers Weekly

"Drawing on their own research and that of a wide array of other scholars, Entman and Rojecki present a great deal of provocative data showing a general tendency to devalue blacks or force them into stock categories."—Ben Yagoda, New Leader

Winner of the Frank Luther Mott Award for best book in Mass Communication and the Robert E. Lane Award for best book in political psychology.

In The Body of War, Dubravka Žarkov analyzes representations of female and male bodies in the Croatian and Serbian press in the late 1980s and in the early 1990s, during the war in which Yugoslavia disintegrated. Žarkov proposes that the Balkan war was not a war between ethnic groups; rather, ethnicity was produced by the war itself. Žarkov explores the process through which ethnicity was generated, showing how lived and symbolic female and male bodies became central to it. She does not posit a direct causal relationship between hate speech published in the press during the mid-1980s and the acts of violence in the war. Instead, she argues that both the representational practices of the “media war” and the violent practices of the “ethnic war” depended on specific, shared notions of femininity and masculinity, norms of (hetero)sexuality, and definitions of ethnicity.

Tracing the links between the war and press representations of ethnicity, gender, and sexuality, Žarkov examines the media’s coverage of two major protests by women who explicitly identified themselves as mothers, of sexual violence against women and men during the war, and of women as militants. She draws on contemporary feminist analyses of violence to scrutinize international and local feminist writings on the war in former Yugoslavia. Demonstrating that some of the same essentialist ideas of gender and sexuality used to produce and reinforce the significance of ethnic differences during the war often have been invoked by feminists, she points out the political and theoretical drawbacks to grounding feminist strategies against violence in ideas of female victimhood.