I started reading Unthinking Eurocentrism one night and couldn't sleep until I had finished it. Shohat and Stam's briliantly written, often witty, book is an intellectual page turner. I plan to read it again.

As a social science student, I found this book invaluable in its incisive exposure of Eurocentrism. The authors treat the subject in a mature manner, and offer an alternative, that of decentering the discussion and making it multi-centric rather than Euro-centric. This book is sensitively written and does not offend Europeans, but seeks to reveal the hidden ways in which Eurocentrism manifests itself. I experienced the reading of this book as liberating and as a validation of my own thinking. I read a university library copy, but I intend to purchase a copy for my children to read - and to refer back to time and time again. It is a timeless work.

Johnson and Stam have compiled what is perhaps the definitive commentary on Brazilian cinema, offering thorough explications of the most important films from several different periods and styles. The book also discusses in detail tropicalism, anthropophagy, and other background elements that are integral to achieve an understanding of Brazilian cinema. Though some of the concepts may seem daunting, they are explained clearly and in a historical context, making it an excellent reference for students (either of Brazil or film in general). While some of the same articles appear in Cinema Novo X 5, Brazilian Cinema covers a wider range of subjects. If you are interested in Brazilian films, it is a must-read.

Here is an academic book that anyone interested in language, literature, and cinema should love. Beautifully written (as few academic books are), it applies the cultural criticism of Russian writer Mikhail Bakhtin to a diverse selection of novels and films, but most notably to those from Brazil. It is a match made in heaven, because both Bakhtin and Brazil believe in carnival (the joyful festivities that take place just before Lent, known in the States as Mardi Gras) and the carnivalesque (where rules are suspended, the oppressed take center stage, the powerful are mocked, and the body is celebrated). Stam begins by providing a clear and thorough overview of Bakhtin's precepts and terminology (dialogism, chronotope, heteroglossia), showing how his writing can fill in the gaps left by other theories and illuminate both artistic texts and everyday life. He then moves on to discuss the conjunction between Bakhtin and film theory specifically, providing elegant analyses of Bunuel's "Exterminating Angel," Godard's "Two or Three Things I Know About Her," Welles's unfinished "It's All True" (much of which was shot in Brazil), Brazilian classics such as "Macunaima," and "Mar das Rosas/Sea of Roses." and several others. Along the way, he takes in such issues as the grotesque and magical body, the subversive as well as the pleasurable potential of carnival, the uses of cannibalism, and cinematic eroticism. This wide-ranging study takes in everything from music (by Brazilian composers Caetano Veloso and Chico Buarque, plus rap) to the influence of the Yiddish theater on Woody Allen's "Zelig." An outstanding book that's a delight to read.

This book is suprisingly clear and to a certain extend quite original as its theme concerns. I would recommend it to everybody as a helpful introduction to the problematics of textuality.