Jonathyne Briggs, Indiana University Northwest, USA.  Josh Guilford, Brown University, USA.  Wolfgang Kraushaar, Hamburger Institut für Sozialforschung, Germany Kathrin Fahlenbrach, University of Hamburg, Germany Samantha Christiansen, Babson College, USA.  Samir Meghelli, University of Illinois at Urbana-Champaign, USA.  Christopher Dunn, Tulane University, USA.  Joshua Shannon, University of Maryland, USA.  Chelsea R. Behle, Massachusetts Institute of Technology, USA.  David Fresko, Stanford University, USA Melissa L. Mednicov, Pennsylvania State University, USA.  Jeff Hayton, University of Illinois at Urbana-Champaign, USA.  Kevin Fellezs, Columbia University, USA.  Francesca D'Amico, York University, Canada.

• 1. Red Noise: Pop and Politics in Post-1968 France; Jonathyne Briggs 2. Mapping Tropicália; Christopher Dunn 3. Magical Mystery Tours: Godard and Antonioni in America; David Fresko 4. Turning Inwards: The Politics of Privacy in the New American Cinema; Joshua Guilford 5. Utopia and Dystopia in Science Fiction Films around 1968; Kathrin Fahlenbrach 6. "Musical & Magical Counterpoint': Language, Sound, and Image in Wallace Berman's Aleph, 1956–1966; Chelsea Behle Fralick 7. Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music; Wolfgang Kraushaar 8. "The Revolution is over - and we have won!': Alfred Hilsberg, West German Punk and the Sixties; Jeff Hayton 9. The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records; Kevin Fellezs 10. "A Weapon In Our Struggle For Liberation": Black Arts, Black Power, and the 1969 Pan-African Cultural Festival; Samir Meghelli 11. The Revolution Will Not Be Televised,but It Will Be Recorded: Soul, Funk, and the Black Urban Experience, 1968-1979; Francesca D'Amico 12. Jukebox Modernism: The Transatlantic Sight and Sound of Peter Blake's Got a Girl (1960–1961); Melissa L. Mednicov 13. Uninteresting Pictures: Art and Technocracy, 1968; Joshua Shannon 14. 1968 and the Future of Information; Andrew Lison

'From Tropicalia to the New American Cinema, French prog rock to conceptual photography, this anthology proves that any compelling account of the polyvalent conjunctures of culture and politics in the 1960s must be interdisciplinary. Readable and engaging, this book pries the decade out of the cliches that too often imprison it to offer fresh perspectives on music, art, and film.' Erika Balsom, Lecturer in Film Studies and Liberal Arts, King's College London, UK "Much has been said and written about the 'global 1968,' but the impact of the global language of the arts in this revolutionary time period is still under-researched. This book links wild hair and ecstatic screams, guitar smashing and spirituality to a new picture of the multifaceted interrelation of sound and vision in the counterculture of the Sixties." -Joachim Scharloth, Professor of Applied Linguistics, University of Dresden, Germany

Jonathyne Briggs, Indiana University Northwest, USA.  Josh Guilford, Brown University, USA.  Wolfgang Kraushaar, Hamburger Institut für Sozialforschung, Germany Kathrin Fahlenbrach, University of Hamburg, Germany Samantha Christiansen, Babson College, USA.  Samir Meghelli, University of Illinois at Urbana-Champaign, USA.  Christopher Dunn, Tulane University, USA.  Joshua Shannon, University of Maryland, USA.  Chelsea R. Behle, Massachusetts Institute of Technology, USA.  David Fresko, Stanford University, USA Melissa L. Mednicov, Pennsylvania State University, USA.  Jeff Hayton, University of Illinois at Urbana-Champaign, USA.  Kevin Fellezs, Columbia University, USA.  Francesca D'Amico, York University, Canada.

• 1. Red Noise: Pop and Politics in Post-1968 France; Jonathyne Briggs 2. Mapping Tropicália; Christopher Dunn 3. Magical Mystery Tours: Godard and Antonioni in America; David Fresko 4. Turning Inwards: The Politics of Privacy in the New American Cinema; Joshua Guilford 5. Utopia and Dystopia in Science Fiction Films around 1968; Kathrin Fahlenbrach 6. "Musical & Magical Counterpoint': Language, Sound, and Image in Wallace Berman's Aleph, 1956–1966; Chelsea Behle Fralick 7. Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music; Wolfgang Kraushaar 8. "The Revolution is over - and we have won!': Alfred Hilsberg, West German Punk and the Sixties; Jeff Hayton 9. The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records; Kevin Fellezs 10. "A Weapon In Our Struggle For Liberation": Black Arts, Black Power, and the 1969 Pan-African Cultural Festival; Samir Meghelli 11. The Revolution Will Not Be Televised,but It Will Be Recorded: Soul, Funk, and the Black Urban Experience, 1968-1979; Francesca D'Amico 12. Jukebox Modernism: The Transatlantic Sight and Sound of Peter Blake's Got a Girl (1960–1961); Melissa L. Mednicov 13. Uninteresting Pictures: Art and Technocracy, 1968; Joshua Shannon 14. 1968 and the Future of Information; Andrew Lison

'From Tropicalia to the New American Cinema, French prog rock to conceptual photography, this anthology proves that any compelling account of the polyvalent conjunctures of culture and politics in the 1960s must be interdisciplinary. Readable and engaging, this book pries the decade out of the cliches that too often imprison it to offer fresh perspectives on music, art, and film.' Erika Balsom, Lecturer in Film Studies and Liberal Arts, King's College London, UK "Much has been said and written about the 'global 1968,' but the impact of the global language of the arts in this revolutionary time period is still under-researched. This book links wild hair and ecstatic screams, guitar smashing and spirituality to a new picture of the multifaceted interrelation of sound and vision in the counterculture of the Sixties." -Joachim Scharloth, Professor of Applied Linguistics, University of Dresden, Germany

Jonathyne Briggs, Indiana University Northwest, USA.  Josh Guilford, Brown University, USA.  Wolfgang Kraushaar, Hamburger Institut für Sozialforschung, Germany Kathrin Fahlenbrach, University of Hamburg, Germany Samantha Christiansen, Babson College, USA.  Samir Meghelli, University of Illinois at Urbana-Champaign, USA.  Christopher Dunn, Tulane University, USA.  Joshua Shannon, University of Maryland, USA.  Chelsea R. Behle, Massachusetts Institute of Technology, USA.  David Fresko, Stanford University, USA Melissa L. Mednicov, Pennsylvania State University, USA.  Jeff Hayton, University of Illinois at Urbana-Champaign, USA.  Kevin Fellezs, Columbia University, USA.  Francesca D'Amico, York University, Canada.

• 1. Red Noise: Pop and Politics in Post-1968 France; Jonathyne Briggs 2. Mapping Tropicália; Christopher Dunn 3. Magical Mystery Tours: Godard and Antonioni in America; David Fresko 4. Turning Inwards: The Politics of Privacy in the New American Cinema; Joshua Guilford 5. Utopia and Dystopia in Science Fiction Films around 1968; Kathrin Fahlenbrach 6. "Musical & Magical Counterpoint': Language, Sound, and Image in Wallace Berman's Aleph, 1956–1966; Chelsea Behle Fralick 7. Guitar Smashing: Gustav Metzger, the Idea of Auto-destructive Works of Art, and Its Influence on Rock Music; Wolfgang Kraushaar 8. "The Revolution is over - and we have won!': Alfred Hilsberg, West German Punk and the Sixties; Jeff Hayton 9. The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records; Kevin Fellezs 10. "A Weapon In Our Struggle For Liberation": Black Arts, Black Power, and the 1969 Pan-African Cultural Festival; Samir Meghelli 11. The Revolution Will Not Be Televised,but It Will Be Recorded: Soul, Funk, and the Black Urban Experience, 1968-1979; Francesca D'Amico 12. Jukebox Modernism: The Transatlantic Sight and Sound of Peter Blake's Got a Girl (1960–1961); Melissa L. Mednicov 13. Uninteresting Pictures: Art and Technocracy, 1968; Joshua Shannon 14. 1968 and the Future of Information; Andrew Lison

'From Tropicalia to the New American Cinema, French prog rock to conceptual photography, this anthology proves that any compelling account of the polyvalent conjunctures of culture and politics in the 1960s must be interdisciplinary. Readable and engaging, this book pries the decade out of the cliches that too often imprison it to offer fresh perspectives on music, art, and film.' Erika Balsom, Lecturer in Film Studies and Liberal Arts, King's College London, UK "Much has been said and written about the 'global 1968,' but the impact of the global language of the arts in this revolutionary time period is still under-researched. This book links wild hair and ecstatic screams, guitar smashing and spirituality to a new picture of the multifaceted interrelation of sound and vision in the counterculture of the Sixties." -Joachim Scharloth, Professor of Applied Linguistics, University of Dresden, Germany