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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices.

Guerrillas --- Alternative mass media --- Terrorism and mass media --- New Left --- Left, New --- Liberalism --- Right and left (Political science) --- Mass media and terrorism --- Mass media --- Alternative media --- Countercultural mass media --- Underground mass media --- Bushwhackers --- Francs-tireurs --- Guerillas --- Maquis --- Partisans --- National liberation movements --- History --- Radicalism in mass media --- Media Archaeology, Media Ecology, Radical Media, Guerrilla Media, Siegfried Zielinski, Red Army Fraction, Radio Alice, Italian Autonomia.

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Literary form. --- Modernism (Literature) --- Gombrowicz, Witold --- Criticism and interpretation. --- Aesthetics.

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Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work -- with its surrealist, magic realist, popular cultural, and neo-Baroque sources -- as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.

Motion picture producers and directors --- Ruiz, Raúl, --- Criticism and interpretation.

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Papua New Guinea's village court system was introduced in 1974, partly in an effort to overcome the legal, geographical, and social distance between village societies and the country's formal courts. There are now more than 1100 village courts all over PNG, hearing thousands of cases each week. This anthropological study is grounded in ethnographic research on three different village courts and the communities they serve. It also explores the colonial historical background to the establishment of the village court system, and the local and global processes influencing the efforts of village co

District courts

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