| Mass Mediations |
| Preface |
| Note on Transliteration |
 | 1. Introduction |
| • | The Middle East |
| • | And Beyond |
| • | Globalization |
| • | The Futility of Resistance |
| • | Global Ahistoricism |
| • | Conclusion: New Approaches to Popular Culture |
| • | Notes |
| 2. Public Culture in Arab Detroit |
| • | A Map of Sorts: A Quick Introduction to Arab Detroit |
| • | Before We Go Transnational: (Un)packing Our Theoretical Baggage |
| • | Popular Culture in Arabic-Speaking Detroit: Reflected Images from Elsewhere |
| • | Arabic TV in Dearborn: How It Started and the Shape It’s In |
| • | A Special Relationship: The Impresarios Win a Transnational TV Turf War |
| • | The Impresarios Talk Back: Ahmad Berry and Nabeel Hamoud Explain What They Do |
| • | Public Culture in Arab Detroit’s English-Speaking Mainstream: Playing to a New Audience |
| • | A Brief History of Access: How a Little Bureaucracy Can Be a Good Thing |
| • | Access Cultural Arts: How To Succeed in the Representation Business |
| • | How Access Spends the Money: Programming Patterns and What They Mean |
| • | Are We Transnational Yet? (Un)packing Our Theoretical Baggage, Again |
| • | Notes |
| 3. The 6/8 Beat Goes On |
| • | Bakhtin: Carnivalesque and Grotesque |
| • | What Is Persian Popular Music? |
| • | Mardomi: Traditional Popular Music in Prerevolutionary Iran |
| • | Women’s Theater |
| • | Classical High—Popular Low |
| • | The Beat Goes On: Popular Music in the Iranian-American Community |
| • | Ru-howzi/Motrebi Music in the Iranian-American Community |
| • | Conclusion |
| • | Notes |
| 4. Sa‘ida Sultan/Danna International |
| • | Israeli “Penetration” |
| • | Youth as “Problem” |
| • | Arab Jews |
| • | Danna’s Egyptian Fans |
| • | Busi/Pussy |
| • | Sonic Indigenousness |
| • | “That Mutant” |
| • | Local Transnationalism |
| • | Update: Diva! |
| • | Notes |
| 5. Playing It Both Ways |
| • | Cairo |
| • | Behind the Unveiled |
| • | Traveling South |
| • | The Peripheral Gaze Downstream |
| • | Kinds of Authenticity |
| • | Notes |
| 6. Joujouka/Jajouka/Zahjoukah |
| • | The Village |
| • | Brion Gysin |
| • | Brian Jones |
| • | Notes |
| 7. Nasser 56/Cairo 96 |
| • | “One Hundred Days That Changed the World” |
| • | “A Man of Simple Dreams” |
| • | “Nasser! Nasser!” |
| • | Conclusion: “What Happened Next?” |
| • | Notes |
| 8. Consuming Damascus |
| • | Consuming the Old City |
| • | The Context |
| • | Friends and Interlopers |
| • | Constructing the Local |
| • | Distinctions |
| • | Notes |
| 9. The Hairbrush and the Dagger |
| • | The Argument: Representation in Lahore and in Anthropology |
| • | Nostalgia and Modernity in Lahore |
| • | Politics and Popular Culture |
| • | Muhasira: Two Nations on TV |
| • | Conclusion |
| • | Notes |
| 10. “Beloved Istanbul” |
| • | Kara Kitab |
| • | “Beloved Istanbul” |
| • | Texts on the Street |
| • | Conclusion |
| • | Notes |
| 11. Badi‘a Masabni, Artiste and Modernist |
| • | Introduction: Modernity and Cultural Hierarchy |
| • | The Popular Press: Al-Ithnayn |
| • | Carnival Court |
| • | Conclusion: Purposeful Laughter |
| • | Notes |
| 12. American Ambassador in Technicolor and Cinemascope |
| • | Coming Attraction |
| • | Hollywood in the International Division of Cultural labor |
| • | Imperialism and Revolution at the Cairo Palace |
| • | On the Road to the Periphery |
| • | Conclusion |
| • | Notes |
| 13. The Golden Age bxefore the Golden Age |
| • | The Cinema and Its Critics |
| • | Cinema As Vernacular Culture |
| • | Down With Vulgarity |
| • | Back to the Future |
| • | Notes |
| References |
| • | Books, Articles, and Dissertations |
| • | Archival Sources |
| • | Select Discography |
| • | Filmography |
| Contributors |
