New Books in Film

In Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film (Edinburgh UP, 2025), Leslie Barnes examines the ambivalences that mark Southeast Asian sex industries under global imperialism. She explores the multi-layered subjectivities of sex workers, procurers and clients, and interrogates the frameworks in which discourses surrounding sex work circulate. Engaged with debates concerning the status of transactional sex, Sex Work in Southeast Asia explores the symbolic force and concrete conditions of sex work in Cambodia and Vietnam, considering how these debates and the figures they ensnare are mediated by fiction and creative nonfiction. The book’s scenes of ambivalence show how the aesthetic treatment of sex work stretches the paradigms we use to make sense not only of sex work, but also of art, the evidentiary status of testimony and the spectacles of pleasure and suffering. Contesting essentialism and authenticity, and working to suspend judgement, these scenes encourage a re-examination of what we think we know about sex work, how we know it and what we do with that knowledge.

Leslie Barnes is an Associate Professor of French Studies at the Australian National University. She is author of Vietnam and the Colonial Condition of French Literature (2014) and co-editor of The Cinema of Rithy Panh: Everything Has a Soul (2021). We previously chatted on New Books about her work on the great Cambodian film director Rithy Panh, so was excited to speak with her again about Sex Work in Southeast Asia: Scenes of Ambivalence in Literature and Film.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

What is the role of television in the history of the UK? In Race on Screen: Audience Racism in Twentieth-Century Britain (Cambridge UP, 2026) Christine Grandy, an Associate Professor in History at the University of Lincoln, explores how producers, audiences, and television programmes themselves addressed race and racism in the Twentieth-Century. Drawing on a huge range of archival material, the book demonstrates the explicit racism associated with white audiences and TV programming, along with the critical resistance offered by audiences of colour. Thinking through how this history of audience and TV production racism has been forgotten, the analysis is a vital contribution to our own contemporary discussions about race and media, in the UK and beyond. The book is essential reading for arts, humanities and social science scholars, along with anyone interested in the past and future of television.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

It’s the Pop Culture Professors, and in this show we conclude our series on the films of Michael Mann. Structured as a knock-out tournament, we have set his eight most highly regarded movies in single-elimination competition. Today, we consider Heat (1995) and Collateral (2004). We ask what makes a Michael Mann movie distinctive, and what themes and ideas seem to capture his attention and bring out his best work. And we conclude the series by ranking the top Michael Mann movies.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Cinema Before the World: The Global Routes of the Lumière Brothers (Fordham UP, 2026) investigates the transnational origins of filmmaking by focusing on a case study in world cinema—the 1896-1897 voyage of one of the Lumière Brothers camera operators, Alexandre Promio, across North Africa and the Middle East. The book shows how the sites in these early films are not simply backdrops, but integral to film form and its global history.

Connecting a series of filmic principles (framing, tracking shots, close-ups) to the sites where they are made visible (a rooftop in Algiers, a train station and the Jaffa Gate in Jerusalem), Allan unsettles a familiar narrative of imperial vision. In the interplay of local history and global media, he highlights tensions between ethnography, observation, and visual capture, revealing how the Lumière Brothers films persist as living archives.

The book evokes a formative moment when cinema stood before the world—both as a technological marvel and as a medium that shaped how space and time were perceived. Tracing a journey from Algeria to Egypt and Palestine, and moving across media from lithography to photography and panoramas, Allan shows how in the hands of later filmmakers, such as Egyptian director Youssef Chahine and the Syrian collective Abounaddara, the Lumière films continue to enrich and inform visions of what cinema—and the world—can be.

Cinema before the World offers a critical historical intervention in the global story of the cinematograph and a visionary method for film scholarship grounded in transnational analysis across languages, regions, and media.

Michael Allan is Associate Professor of Comparative Literature and Cinema Studies at the University of Oregon. He is the author of In the Shadow of World Literature: Sites of Reading in Colonial Egypt (Princeton, 2016, winner, MLA First Book Prize) and serves as editor of the journal Comparative Literature.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

It’s the Pop Culture Professors, and in this show we start a series on the films of Michael Mann. Structured as a knock-out tournament, we set his eight most highly regarded movies single-elimination competition. Today, we consider Ali (2001) and The Last of the Mohicans (1992). We ask what makes a Michael Mann movie distinctive, and what themes and ideas seem to capture his attention and bring out his best work.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film