In Conversation: An OUP Podcast

Scott A. Mitchell is the Dean of Students and Faculty Affairs and holds the Yoshitaka Tamai Professorial Chair at the Institute of Buddhist Studies in Berkeley. He teaches and writes about Buddhism in the West, Pure Land Buddhism, and Buddhist modernism. As of 2010, there were approximately 3-4 million Buddhists in the United States, and that figure is expected to grow significantly. Beyond the numbers, the influence of Buddhism can be felt throughout the culture, with many more people practicing meditation, for example, than claiming Buddhist identity. A century ago, this would have been unthinkable. So how did Buddhism come to claim such a significant place in the American cultural landscape? The Making of American Buddhism (Oxford UP, 2023) offers an answer, showing how in the years on either side of World War II second-generation Japanese American Buddhists laid claim to an American identity inclusive of their religious identity. In the process they-and their allies-created a place for Buddhism in America. These sons and daughters of Japanese immigrants-known as “Nisei,” Japanese for “second-generation”-clustered around the Berkeley Bussei, a magazine published from 1939 to 1960. In the pages of the Bussei and elsewhere, these Nisei Buddhists argued that Buddhism was both what made them good Americans and what they had to contribute to America-a rational and scientific religion of peace. The Making of American Buddhism also details the behind-the-scenes labor that made Buddhist modernism possible. The Bussei was one among many projects that were embedded within Japanese American Buddhist communities and connected to national and transnational networks that shaped and allowed for the spread of modernist Buddhist ideas. In creating communities, publishing magazines, and hosting scholarly conventions and translation projects, Nisei Buddhists built the religious infrastructure that allowed the later Buddhist modernists, Beat poets, and white converts who are often credited with popularizing Buddhism to flourish. Nisei activists didn't invent American Buddhism, but they made it possible. Dr. Victoria Montrose is an Assistant Professor of Religion and Asian Studies at Furman University.

Travel to virtually any African country and you are likely to find a Coca-Cola, often a cold one at that. Bottled asks how this carbonated drink became ubiquitous across the continent, and what this reveals about the realities of globalisation, development and capitalism. Bottled: How Coca-Cola Became African (Oxford University Press, 2023) by Dr. Sara Byala is the first assessment of the social, commercial and environmental impact of one of the planet's biggest brands and largest corporations, in Africa. Dr. Byala charts the company's century-long involvement in everything from recycling and education to the anti-apartheid struggle, showing that Africans have harnessed Coca-Cola in varied expressions of modernity and self-determination: this is not a story of American capitalism running amok, but rather of a company becoming African, bending to consumer power in ways big and small. In late capitalism, everyone's fates are bound together. A beverage in Atlanta and a beverage in Johannesburg pull us all towards the same end narrative. This story matters for more than just the local reasons, enhancing our understanding of our globalised, integrated world. Drawing on fieldwork and research in company archives, Dr. Byala asks a question for our time: does Coca-Cola's generative work offset the human and planetary costs associated with its growth in the twenty-first century? This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

In Sesame Street: A Transnational History (Oxford UP, 2023), author Helle Strandgaard Jensen tells the story of how the American television show became a global brand. Jensen argues that because the show's domestic production was not financially viable from the beginning, Sesame Street became a commodity that its producers assertively marketed all over the world. Sesame Street: A Transnational History combines archival research from seven countries, bolstering an insightful analysis of how local reception and rejection of the show related to the global sales strategies and American ideals it was built upon. Contrary to the producers’ oft-publicized claims of Sesame Street’s universality, the show was heavily shaped by a fixed set of assumptions about childhood, education, and commercial entertainment. This made sales difficult as Sesame Street met both skepticism and direct hostility from foreign television producers who did not share these ideals. Drawing on insights from new histories about childhood, education, and transnational media, the book lays bare a cultural clash of international proportions rooted in divergent approaches to children's television. In doing so, it provides a reflective backdrop to the many ongoing debates about children's media. In contrasting the positive receptions and renunciations of Sesame Street, Jensen demonstrates that it was only after a substantial rethinking of Sesame Street’s aims and business model that this program ended up on numerous broadcasting schedules by the mid-1970s. Along the way, this rethinking and the constant negotiations with potential international buyers created and shaped the business and corporate brand that paved the way for the Sesame Street we know today. Peter C. Kunze is a visiting assistant professor of communication at Tulane University.

In his influential Anti-Semite and Jew, French philosopher Jean-Paul Sartre observed "If the Jew did not exist, the anti-Semite would invent him." In doing so he articulated the figure of an Antisemite responsible for imagining the Jew in a formulation that has lasted for decades. This figure became an indispensable trope in the period immediately after the war. It enabled Germans and Austrians to navigate a radically changed political and cultural landscape and reestablish lives upended by war by denying complicity in perpetuating antisemitic ideology. The deeply ingrained cultural practices that formed the basis for age-old prejudices against Jews persisted via coded references, taking new forms, and providing fertile ground for explicit eruptions.  Decades before the Nazi persecution of the Jews would emerge as a master moral paradigm of evil in popular culture, the constructed Antisemite became part of a forceful narrative structure that allowed stereotypes about Jews to persist, even as explicit antisemitism became taboo. Lisa Silverman examines the crucial development and implications of the figural Antisemite in a range of trials, films, and texts during the first years after the end of the Second World War. She argues that, in their economically shattered, emotionally exhausted, and culturally impoverished postwar world, Austrians, Germans, and others used the Antisemite as a way to come to terms with their altered circumstances and to shape new national self-understandings.  A readily recognizable and easily adaptable figure of evil, the Antisemite loomed large as a powerful and persistent trope in a wide range of artistic and cultural narratives. As a figure onto which to project or imagine as a source of the hatred of Jews, the Antisemite allowed audiences to avoid facing the implications of crimes committed by the Nazis and their accomplices and to deny the endurance of widespread and often coded antisemitic prejudices. In postwar Europe, where everyone looked to blame others for the murder and dispossession of the Jewish population, the authority to define the Antisemite as a receptacle for explicit Jew-hatred became a powerful force. As The Postwar Antisemite argues, antisemitism as a hidden code gained new force, packing stronger, more effective punches and affording its users more power. This era is critical to understanding ongoing struggles over the authority to set the parameters of antisemitism and the power and persistence of this hatred in society. Paul Lerner is Chair of the History Department at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies.

Previous guest Jacob Bricca (Documentary Editing: Principles and Practice) is a professional film editor and director, specializing in documentaries. In his new book, he breaks down the hidden conventions of the documentary film in accessible language for film students and documentary enthusiasts alike. Chapters on Narrative and Meaning show how documentaries use story constructions borrowed from fiction filmmaking and combine elements from disparate sources in order to prosecute their stories, while chapters on Flow and Time illuminate the precise mechanics of how the flow of information in a documentary is regulated to produce a specific result in the mind of the viewer. Other chapters like Titles, Music, and Sound break the documentary down into its component parts that can be analyzed independently.  Throughout How Documentaries Work (Oxford University Press, 2023), excerpts from interviews with documentary producers, directors and craftspersons help to illuminate the concepts and deliver behind-the-scenes insights. It contains examples from over 100 contemporary documentaries and covers a wide variety of contemporary non-fiction work, including docu-series, television documentaries, unscripted series, and contemporary avant-garde documentaries. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne.