Luisa Passerini is Professor Emerita at the European University Institute, Florence, and was Principal Investigator of the European Research Council Project ‘Bodies Across Borders: Oral and Visual Memory in Europe and Beyond’ 2013-2018. She received the first All European Academies Madame de Staël Prize for Cultural Values in 2014 and she is a member of the Scientific Committee of the House of European History, Brussels.

““This is an excellent collection of writings on the performance of cultural memory since 1968, in varied European and North Atlantic contexts…Based on Passerini’s extensive work on cultural memory, subjectivity and visuality, this volume extends the frame of cultural work into historical conflicts, erasures and negative constraints against performativity when bodies are trapped in conflicts, in prisons, and corporeality prevents the full expression of memory (Reinisch).” • Mary Marshall Clark, Columbia University

• List of IllustrationsAcknowledgementsIntroductionLuisa Passerini & Dieter ReinischPart I: Body in Movement/Body in ConstrainChapter 1. Bodily Ways of Knowing and Remembering: Movement, Kinaesthesia, and MobilityMarina NorderaChapter 2. Corporeality and Militant Performance during Northern Irish Prisons Protests, 1971-1983Dieter ReinischPart II: Spectacle and ActivismChapter 3. Soviet Media Spectacle: Visuality, Corporeality, and Identity in the Late 1960s and Early 1970sBohdan ShumylovychChapter 4. Bartering and Cross-Border Embodied PerformancesAnnelies KuhlmannChapter 5. The Filmmaker as Saboteur: Found Footage and Détournement in Llorenç Soler’s Militant FilmsPablo La Parra Pérez:Part III: Reports from the FieldChapter 6. A Letter to the Future: Autumn Knight's WALL (2014) and the Studio Museum in HarlemCori OlinghouseChapter 7. Philadelphia Immigration Stories: Making the Aural VisualJanneken SmuckerAfterwordAlexander EtkindBibliographyIndex

Luisa Passerini is Professor Emerita at the European University Institute, Florence, and was Principal Investigator of the European Research Council Project ‘Bodies Across Borders: Oral and Visual Memory in Europe and Beyond’ 2013-2018. She received the first All European Academies Madame de Staël Prize for Cultural Values in 2014 and she is a member of the Scientific Committee of the House of European History, Brussels.

““This is an excellent collection of writings on the performance of cultural memory since 1968, in varied European and North Atlantic contexts…Based on Passerini’s extensive work on cultural memory, subjectivity and visuality, this volume extends the frame of cultural work into historical conflicts, erasures and negative constraints against performativity when bodies are trapped in conflicts, in prisons, and corporeality prevents the full expression of memory (Reinisch).” • Mary Marshall Clark, Columbia University

• List of IllustrationsAcknowledgementsIntroductionLuisa Passerini & Dieter ReinischPart I: Body in Movement/Body in ConstrainChapter 1. Bodily Ways of Knowing and Remembering: Movement, Kinaesthesia, and MobilityMarina NorderaChapter 2. Corporeality and Militant Performance during Northern Irish Prisons Protests, 1971-1983Dieter ReinischPart II: Spectacle and ActivismChapter 3. Soviet Media Spectacle: Visuality, Corporeality, and Identity in the Late 1960s and Early 1970sBohdan ShumylovychChapter 4. Bartering and Cross-Border Embodied PerformancesAnnelies KuhlmannChapter 5. The Filmmaker as Saboteur: Found Footage and Détournement in Llorenç Soler’s Militant FilmsPablo La Parra Pérez:Part III: Reports from the FieldChapter 6. A Letter to the Future: Autumn Knight's WALL (2014) and the Studio Museum in HarlemCori OlinghouseChapter 7. Philadelphia Immigration Stories: Making the Aural VisualJanneken SmuckerAfterwordAlexander EtkindBibliographyIndex

Luisa Passerini is Professor Emerita at the European University Institute, Florence, and was Principal Investigator of the European Research Council Project ‘Bodies Across Borders: Oral and Visual Memory in Europe and Beyond’ 2013-2018. She received the first All European Academies Madame de Staël Prize for Cultural Values in 2014 and she is a member of the Scientific Committee of the House of European History, Brussels.

““This is an excellent collection of writings on the performance of cultural memory since 1968, in varied European and North Atlantic contexts…Based on Passerini’s extensive work on cultural memory, subjectivity and visuality, this volume extends the frame of cultural work into historical conflicts, erasures and negative constraints against performativity when bodies are trapped in conflicts, in prisons, and corporeality prevents the full expression of memory (Reinisch).” • Mary Marshall Clark, Columbia University

• List of IllustrationsAcknowledgementsIntroductionLuisa Passerini & Dieter ReinischPart I: Body in Movement/Body in ConstrainChapter 1. Bodily Ways of Knowing and Remembering: Movement, Kinaesthesia, and MobilityMarina NorderaChapter 2. Corporeality and Militant Performance during Northern Irish Prisons Protests, 1971-1983Dieter ReinischPart II: Spectacle and ActivismChapter 3. Soviet Media Spectacle: Visuality, Corporeality, and Identity in the Late 1960s and Early 1970sBohdan ShumylovychChapter 4. Bartering and Cross-Border Embodied PerformancesAnnelies KuhlmannChapter 5. The Filmmaker as Saboteur: Found Footage and Détournement in Llorenç Soler’s Militant FilmsPablo La Parra Pérez:Part III: Reports from the FieldChapter 6. A Letter to the Future: Autumn Knight's WALL (2014) and the Studio Museum in HarlemCori OlinghouseChapter 7. Philadelphia Immigration Stories: Making the Aural VisualJanneken SmuckerAfterwordAlexander EtkindBibliographyIndex