![]() This paper expands the topography of contexts in which research on hip hop and religion takes place by investigating the ways in which video game engines and video editing software are used by game players to produce films within virtual environments. Or, playing off from post-Heidegger or postcolonial definitions of worlding, we would offer this summarizing definition: "WORLDING (v) - a historical process of taking care, setting limits, entering into, & making world-horizons come near & become local, situated, in/formed, cared for instantiated as an uneven/incomplete material-cultural process of world-making and world-becoming." In one compressed verb 'worlding' means building-up the life-world that is, actively worlding it. The former process (deworlding) suggests enduring impacts of empire, colonialism, and turbo-capitalism upon other life-worlds and threatened ways of being. Worlding-as-projection is still shadowed by residual forces and forms of 'deworlding,' as well as stands opposed to those called (by Tsing and Haraway et al) 'reworlding': that is to say, energies and practices of going and coming, breaking down and building up life-worlds. Worlding stands for a range of alter-globalization and situated localization practices being projected forward out into and across the everyday world that is riddled and driven by mandates of capitalist dynamism and globalization. “Worlding” (as I phrased it in the “Afterword: Worlding as Future Tactic” to Worlding Project) means at once a mode of “building up a life-world palpably disclosing its lived-in modalities, boundaries, tactics, and historical processes” of survival and emergence. Worlding is not so much a theme or subject as it is a tactic or a practice or projection of world-making, projecting forth, and life-world becoming and building-up to use a Goethe-like word for cultural formation. It is in this political-ethical sense of lived culture that co-editors Christopher Connery and I had deployed “worlding” to enact a stipulated cultural-political-creative ethos or tactic of situated opposition to the telos of globalization, in our co-edited collection The Worlding Project: Doing Cultural Studies in the Era of Globalization. Anglophone feminist film theory and the moral high ground of particularism.‘Woman’ as commodity and fetish: some observations about Chinese cinema.‘Woman,’ Fetish, Particularism: Articulating Chinese Cinema with a Cross-Cultural Problematic Defining the Sentimental in Relation to Contemporary Chinese Cinema 13.Image, Time, Identity: Trajectories of Becoming Visible.Sentimental Fabulations: Contemporary Chinese Films A Filmic Staging of Postwar Geotemporal Politics: Kurosawa Akira’s No Regrets for Our Youth, Sixty Years Later 12. Weakness, Fluidity, and the Fabling of the World. ![]() Translation and the Problem of Origins.Coda: New Questions for Cultural Difference and Identity 10.“Under the Robes, beneath Everything, It Was Always Me”.The Force of Butterfly or, the “Oriental Woman” as Phallus.“East Is East and West Is West, and Ne’er the Twain Shall Meet”.Seeing Modern China: Toward a Theory of Ethnic Spectatorship 9. Is “Woman” a Woman, a Man, or What? The Unstable Status of Woman in Contemporary Cultural Criticism Part 2 FILMIC VISUALITY & TRANSCULTURAL POLITICS EDITOR’S INTRODUCTION: Paul Bowman 7.When Whiteness Feminizes.: Some Consequences of a Supplementary Logic Community Building among Theorists of Postcoloniality 6.Community Formation and Sexual Difference: A Double Theoretical Discourse. ![]() The Politics of Admittance: Female Sexual Agency, Miscegenation, and the Formation of Community in Frantz Fanon Brushes with Other as Face: Stereotyping and Cross-Ethnic Representation
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