By Radha S. Hegde

Circuits of Visibility explores transnational media environments as pathways to appreciate the gendered buildings and contradictions that underwrite globalization. monitoring the ways that gendered topics are produced and outlined in transnationally networked, media saturated environments, Circuits of Visibility provides 16 essays that jointly strengthen a dialogue approximately sexual politics, media, expertise, and globalization. masking the web, tv, books, telecommunications, newspapers, and activist media paintings, the quantity directs concentrated realization to the ways that gender and sexuality concerns are developed and mobilized around the globe. members’ essays span varied worldwide websites from Myanmar and Morocco to the Balkans, France, united states, and China, and canopy an in depth terrain from intake, aesthetics and whiteness to masculinity, transnational hard work, and cultural citizenship. Circuits of Visibility initiates an important dialog and political critique concerning the mediated worldwide terrain on which sexuality is outlined, played, regulated, made seen, and skilled.

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In 2002 she appeared in a television advertisement for a brand of coffee called Coffee C, posing in a seductive way, surrounded by tigers—a direct reference to the Tigers. ”28 She also frequently expresses her love for the homeland: “I am a huge patriot, and no one has the right to take it away from me. ”29 And yet Ceca also disputes the critics who say turbo-folk was the soundtrack for Milosevic’s nationalistic regime: “I don’t know what they’re talking about. I don’t sing songs about nationalism.

Even when I was a child I knew that I was going to become the biggest star in the Balkans.  . I’m happy that I’m earning the fruits of my effort and struggle. I like to show my femininity. ”2 35 This chapter explores the trajectory of Ceca’s ascent as a pop icon despite her clearly nationalist identification and political commitments. Ceca is a locally positioned star who manages both to exploit and to disavow her political entanglements, including the fact that she was arrested (and later released uncharged) in connection with the assassination of former Serb prime minister Zoran Djindic.

I don’t sing songs about nationalism. I only sing about love. ”30 She actively dissociates herself from the way her music circulated during the Milosevic years by now masking that influence with romantic compositions, as a softer way of marketing to the diverse audiences in former Yugoslav countries. 31 Thanks to new technologies, including the Internet and satellite television, Balkan diasporic and national spaces are developing new, interlinked forms of transnational connections through cultural production.

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