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By Stephen J.; Wallace, Daniel; Ling, Josh Sansweet

Ultimately, Threepio will get the tribute he merits during this unique, restricted variation illustrated hardcover publication and unique huge collector determine.

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These new forms of discourse and dream threatened the imaginary nation of Islam with hybridity marshaled on all fronts: aesthetic, geographic, narrative, psychic, structural. Reflecting in 1990 on the fatwa, Rushdie explained, “The Satanic Verses celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. ”34 In the Rushdie affair, England, where the novelist resides, cannot be separated from Iran, which issued the death threat, nor can it be severed from the novel’s aesthetic strategy of postmodernist pastiche of Englishness, Indianness, and Islam that redefines England.

Critical, investigative documentary production has become extinct on cable television and at the networks; its remains, like those of the dinosaurs that have deteriorated into fossil fuel, are buried deep beneath the surface. Theatrically released feature-length documentaries, although making some inroads into commercial exhibition, often reproduce a realist style that focuses on the triumph or wackiness of unique individuals who flaunt overwhelming social and psychoanalytic structures. Reviving a very traditional American trope of individualism that retains a homology to narrative film in its deployment of characters in whom larger social and political structures are condensed, most of these films do not critique larger governmental instititutions, policies, or national social and political agendas, nor do they seek to spur debate or controversy about the composition and viability of the nation.

The argument for independent production depended on a definition of the independent documentary community as significantly different in content, style, argument, textual practices, and institutions than its more bureaucratic and corporate foes: if they were tainted by profit, independents were anointed by purity. The very definition of independent media depended upon their offering up the structured absences of dominant media as interventions: dissent, voices and bodies made visible, critique, exposés, hidden histories, revisionist histories.

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