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When his father, who's in the United States illegally, becomes injured and unemployed, eleven-year-old Sandro is determined to help his parents raise money for his little sister's heart surgery by collecting scrap metal to recycle for cash.

After twenty-five years, Cinemateca Uruguaya's most devoted employee, Jorge (real-life Uruguayan critic Jorge Jellinek), still finds his inspiration in caring for the films and audiences that grace the seats and screen of his beloved arthouse cinema. But when dwindling attendance and diminishing support force the theater to close its doors, Jorge is sent into a world he knows only through the lens of art—and suddenly forced to discover a new passion that transcends his once-celluloid reality. Stylishly framed in black-and-white with brilliantly understated performances, Federico Veiroj's sly and loving homage to the soul of cinema is a universally appealing gem and knowing charmer about life after the movies.

Winner of 4 Academy Awards, Parasite is the story of a poor family who becomes employed by a wealthy family and infiltrates their household by posing as unrelated, highly qualified individuals.

Explories discourses on gender in both propaganda and high-art fictional writings by Iraqis, including women's autobiographical writings, and offers an alternative narrative of the literary and cultural history of Iraq. Recovers the history of the Southern Life History Project, a Federal Writers' Project initiative that put unemployed writers to work during the Great Depression by capturing the stories of everyday people across the Southeast through a new form of social documentation called \"life histories.\" Draws on personal letters, oral histories, psychiatric reports, as well as popular music and movies to show how the armed forces and civilian society have attempted to weaponize romantic love in pursuit of martial ends, from World War II to today. Locates evangelicalism as a media event rather than as a coherent religious tradition by focusing on the intertwined narratives of evangelical Christianity and emerging digital culture in the United States.

'I can see this life for exactly what it is. I can now, anyway. We're walkin' a knife edge. One slip, one tiny slip an' we fall. An' there's a fuck of a long way to fall…even for us. An' we're kept there…on the knife edge…because they can tell yer which way t'go. Forward or down.' Fin's bright. Some would say gifted. But school isn't going well. While he is busy coping with his mum's depression and his younger brother's drug problem, he can feel his future slipping away. The few jobs that are available in North London are part-time or temporary, and Fin knows his future will be a life of unstable pay, minimal social security benefits, no pension and eroding health care. He is the uture of the emerging major class – living precarious lives at the mercy of the one percent: The Precariat. With his world collapsing slowly around him, Fin finds hope and attraction with the girl at the fried chicken drive-through window. But even she can't offer him a way out. Fin makes one final desperate bid to take control over the future – by giving his brother the chance to turn his life around…

Bruce Sterling's science fiction novel Distraction (1999) envisions a near-future (mid-twenty-first-century) US in which the economy has collapsed, entire categories of skilled and professional labor have ceased to exist, rampant and endemic joblessness leaves masses of the unemployed to survive on the margins as squatters and scavengers, the infrastructure of entire regions is in ruins (Louisiana is described as “underwater” and the West as “on fire”), and the ongoing crisis has enabled the proliferation of ad hoc governance structures (“State-of-Emergency cliques”), even as democratic institutions survive (just barely) in the eviscerated form of pure spectacle. In this world, where, as one character puts it, “money just doesn't need human beings anymore,” a significant portion of the population have opted out of the money economy altogether. Appropriating biotech that can fabricate nutrition from scrub grass and weeds, the novel's nomad proles live off roadside detritus, which they also use to fabricate the phones and laptops central to their wired, moneyless reputation economy. This paper addresses the relation in the novel between economic crisis, the demise of representational politics (what Slavoj Žižek calls the “divorce” of “capitalism and democracy”), and alternative forms of sociality, particularly in the figure of the nomad proles, and of the urban squatters described as practicing a kind of “digital socialism” in what were once the public spaces of government (Senate office buildings, for example). If the reversion to nomadism most emphatically signposts the dissolution of the social body in Distraction, Sterling's representation of the nomad communities also insists that disaggregation is not the same thing as disorganization. Quite the contrary, as one character notes of the nomads, “organization is the only thing they've got.” We are interested in the ways in which this networked form of belonging both does and does not decode as ethnicity, as well as the ways in which it orients the proles both to structures of authoritarian governance and to the (equally wired) edifice of corporate capital. Along related lines, we ask what kind of resistance to capitalism is imagined in a “digital socialism” where private property and the private sphere are “turned inside out” through rfid (radio frequency identification) tagging and ubiquitous mutual “sousveillance”? To what extent do the disruptive effects of new technologies, as embodied by both the nomad proles and the socialist squatters, represent a genuine political opportunity, and to what extent do they represent a technologically determinist fantasy of capitalist collapse without class struggle, in the spaces of newly mediated social possibility created by permanent crisis?

This was \"Comrade Wacher\" and, according to [Johann], the occasion of their encounter was the strike by coal miners around Estevan in southern Saskatchewan which took place during September 1931. The German author claimed that, although \"the official leadership of the strike naturally resided in the mining area itself, behind the scenes the struggle was directed from communist headquarters in Winnipeg.\"14 From there couriers were supposedly dispatched daily by freight train to Estevan with verbal orders for the strikers, thereby avoiding the danger of letters being opened or telephone conversations overheard; and when the walkout was in danger of collapsing Johann reported that dozens of reliable unemployed men were sent by the same route to serve as pickets to safeguard the mines from saboteurs. This was how the leaders in Winnipeg and the strikers kept in close contact, a connection which he judged the police knew nothing about. Otherwise they would have raided the \"nest of conspirators\" in the Ukrainian Temple, since \"communists were almost as thoroughly outlawed in Canada as in the United States.\"15 In the face of such seemingly unanimous evidence to the contrary, is it conceivable that Johann's version of the role allegedly played by Comrade Wacher in the Estevan walkout might nonetheless be true? Unfortunately, it is only feasible here to approach this question in general terms because none of the writer's private research files, which could conceivably have held notes on his conversation with the Canadian communist politician, survived the wartime bombing of his Berlin residence.26 Some contemporary reviewers and also subsequent literary critics, however, have expressed doubts about either the validity of interpretations he put forward of certain developments or else the veracity of various anecdotes related in Johann's books. For instance, in a 1933 review ofAmerika Louis Hamilton took him to task for exaggerating when he stated that \"hundreds of thousands of unemployed Canadians could not allay their hunger even with dry bread\" while living beside huge stocks of unsold wheat. Yet, Hamilton had to concede \"alas!\" that there was \"more than an element of truth in [Johann's further] suggestion that the worst thing that can happen to the western farmer is a good wheat crop,\" and he expressly praised the \"sane, correct, and instructive information\" the author presented on the failure of the Canadian Wheat Pool to cope with the agricultural Depression.27 Perhaps a more pertinent example concerns a lengthy incident Johann recounted in his first volume about Canada which he said had been confided to him by an elderly trapper. It dealt with the fate of three young German-speaking settlers who in order to escape military service against their homeland in 1914 had fled into the bush where they were finally murdered by another Scandinavian draft-dodger. One informed commentator described this \"fantastic story\" as no more than a tall tale told to a \"greenhorn\" newly arrived in the country.28 That may have been so, though during World War I hostility, including isolated acts of violence toward \"enemy aliens\" perpetrated by their fellow-citizens, is well documented.29 In this and similar cases, therefore, stories repeated by Johann for which verifiable proof is absent ought not to be dismissed out of hand. Moreover, when he presents factual data in Amerika and elsewhere this is acknowledged to be beyond dispute. In his publications which appeared prior to the Third Reich, Johann appears to have been a generally trustworthy chronicler of the Canadian situation.30

Les femmes au chômage qui habitent chez des membres de leur famille se trouvent bien souvent soumises à des contraintes qui leur ôtent toute maîtrise sur leur propre vie.