John Hutnyk – författare

In this book, John Hutnyk questions the meaning of cultural hybridity. Using the growing popularity of Asian culture in the West as a case study, he looks at just who benefits from this intermingling of culture. Focusing on music, race and politics, Hutnyk offers a cogently theorised critique of the culture industry. He looks at artists such as Asian Dub Foundation, FunDaMental and Apache Indian to see how their music is both produced and received. He analyses 'world' music festivals, racist policing and the power of corporate pop stars to market exotica across the globe. Throughout, Hutnyk provides a searing critique of a world that sells exotica as race relations and visibility as redress.

Cultural Studies commonly claims to be a radical discipline. This book thinks that's a bad assessment. Cultural theorists love to toy with Marx, but critical thinking seems to fall into obvious traps.After an introduction which explains why the 'Marxism' of the academy is unrecognisable and largely unrecognised in anti-capitalist struggles, Bad Marxism provides detailed analyses of Cultural Studies' cherished moves by holding fieldwork, archives, empires, hybrids and exchange up against the practical criticism of anti-capitalism.Engaging with the work of key thinkers: Jacques Derrida, James Clifford, Gayatri Spivak, Georges Bataille, Homi Bhabha, Michael Hardt and Toni Negri, Hutnyk concludes by advocating an open Marxism that is both pro-party and pro-critique, while being neither dogmatic, nor dull.

'Diaspora & Hybridity deals with those theoretical issues which concern social theory and social change in the new millennium. The volume provides a refreshing, critical and illuminating analysis of concepts of diaspora and hybridity and their impact on multi-ethnic and multi-cultural societies' - Dr Rohit Barot, Department of Archaeology and Anthropology, University of Bristol

What do we mean by 'diaspora' and 'hybridity'? Why are they pivotal concepts in contemporary debates on race, culture and society?

This book is an exhaustive, politically inflected, assessment of the key debates on diaspora and hybridity. It relates the topics to contemporary social struggles and cultural contexts, providing the reader with a framework to evaluate and displace the key ideological arguments, theories and narratives deployed in culturalist academic circles today. The authors demonstrate how diaspora and hybridity serve as problematic tools, cutting across traditional boundaries of nations and groups, where trans-national spaces for a range of contested cultural, political and economic outcomes might arise.

Wide ranging, richly illustrated and challenging, it will be of interest to students of cultural studies, sociology, ethnicity and nationalism.

′Diaspora & Hybridity deals with those theoretical issues which concern social theory and social change in the new millennium. The volume provides a refreshing, critical and illuminating analysis of concepts of diaspora and hybridity and their impact on multi-ethnic and multi-cultural societies′ - Dr Rohit Barot, Department of Archaeology and Anthropology, University of Bristol

What do we mean by ′diaspora′ and ′hybridity′? Why are they pivotal concepts in contemporary debates on race, culture and society?

This book is an exhaustive, politically inflected, assessment of the key debates on diaspora and hybridity. It relates the topics to contemporary social struggles and cultural contexts, providing the reader with a framework to evaluate and displace the key ideological arguments, theories and narratives deployed in culturalist academic circles today. The authors demonstrate how diaspora and hybridity serve as problematic tools, cutting across traditional boundaries of nations and groups, where trans-national spaces for a range of contested cultural, political and economic outcomes might arise.

Wide ranging, richly illustrated and challenging, it will be of interest to students of cultural studies, sociology, ethnicity and nationalism.

With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future.Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained.

With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future.Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained.

With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future.Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained.

With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future.Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained.

Pantomime is a theatrical form that has come to rule our everyday lives as terror. In the early years of the 21st century, a dissembling political demonology has sometimes placed otherwise merely lyrical musicians in a volatile predicament. The discussion here is of Fun-da-Mental's Aki Nawaz portrayed as a 'suicide rapper', Asian Dub Foundation striking poses from the street in support of youth in Paris and Algiers, and M.I.A., born free fighting immigration crackdown with atrocity video. Along the way, bus bombs, comedy circuits, critical theory, Arabian Nights, Bradley Wiggins, Dinarzade, Karl Marx, Paris boulevards, Molotov, Mao, the Eiffel Tower, reserve armies, lists, Richard Wagner, Samina Malik, Slavoj Zizek, Freudian slips, red-heads, Guantanamo. The book offers some sharp critiques of our contemporary complacency, and the failures of theory as more than ten years of war on terror turns anxiety at home and drone-strike assassinations abroad into a normal everyday. This pantomime is a terror story told over and over to distract from the workings of a despotic power. The need for an adequate (winning) counter-narrative was never more clear.

Transgression is the stock in trade of a certain kind of anthropological sensibility that transforms fieldwork from strict social science to something more engaging. It builds on Koepping’s idea that participation transforms perception and investigates how transgressive practices have triggered the re-theorization of conventional forms of thought and life. It focuses on social practices in various cultural fields including the method and politics of anthropology in order to show how transgressive experiences become relevant for the organisation and understanding of social relations. This book brings key authors in anthropology together to debate and transgress anthropological expectations. Through transgression as method, as discussed here, our understanding of the world is transformed, and anthropology as a discipline becomes dangerous and relevant again.

An extraordinary study of the politics of representation, this book explores the discursive construction of a ‘city of intensities‘.The author analyses representations of Calcutta in a wide variety of discourses: in the gossip and travellor-lore of backpackers and volunteer charity workers; in writing - from classic literature to travel guides; in cinema, photography and maps. The book shows how the rumours of westerners contribute to the elaboration of an imaginary city; and in doing so, circulate in ways fundamental to the maintenance of international order.A provocative and original reading of both Heidegger and Marx, the book also draws upon writers as diverse as Spivak, Trinh, Jameson, Clifford, Virilio, Bataille, Derrida, Deleuze and Guattari. As such it is essential reading for students and scholars in cultural studies, anthropology, development and sociology.

Blurring the boundaries between academic and cultural production, this book produces a new understanding of the world significance of South Asian culture in multi-racist societies. One of the first sustained attempts to situate such production within the study of race and identity, it uncovers the crucial role that contemporary South Asian dance music has played in the formation of a new urban cultural politics.The book opens by positing new theoretical understandings of South Asian cultural representation that move beyond essentialist ethnicity in the cultural studies literature. Contributors narrate the formation of South Asian expressive culture coming emerging from the highly charged context of UK Black politics. Part three assumes the task of historical recovery, looking at the antecedents of political South Asian musical performance, autonomous anti-racist organising and problems of alliance with the white Left. Part four engages with the movements and translations of cultural productions across the world - not just in Britain or South Asia, but also Canada, North America, Fiji, Malaysia, Australia, West Africa, Europe, but particularly in the fractured spaces of a postcolonial Britain in decline.