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Stéphanie Ponsavady

In his famous 1925 travelogue, Roland Dorgelès writes about his first encounter with the Mandarin Road in Indochina:

When you have dreamed for years of the Mandarin Road, the very name of which evokes all the splendors of the Orient, it is not surprising that you experience a flash of annoyance if you are suddenly held up at a corner, between a street-car and an autobus, by some numbskull who triumphantly announces, with the idea that he is delighting you:

“Well, there it is, your Mandarin Road!”

And then he shows you a guidepost with a blue sign, executed in the purest style of the Department of Bridges and Highways, whereon you read simply, “Colonial Road No. 1.”

Disappointment resides in the resemblance with metropolitan roads, signified by a generic blue sign. Dorgelès laments the lack of exotic experience, even though his presence is only permitted by colonial modernization and administrative uniformity. This tension between the desire for alterity and the rationalization ofspace is characteristic of the French experience in colonial Indochina.

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Stéphanie Ponsavady

In Colonial Indochina, the introduction of motorized transportation led French authorities to focus their attention on the issue of pedestrian walking. The political and economic imperatives of the colonial state shaped the modern phenomenon of traffic, which isolated the indigenous body as a sign of otherness. The unruly indigenous pedestrian expressed a discursive and experiential crisis that questioned colonialism itself. This article invites us to examine the political potential of walking by considering Henri Lefebvre's notion of dressage and its limitations in a colonial setting through various examples, from French accounts of indigenous walking in daily activities to political disruptions of traffic by pedestrian demonstrators and the incorporation of indigenous bodies in road safety policies. Repeatedly, colonial subjects eluded, criticized, or undermined the rules of the road and the colony by the simple act of walking.

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Stéphanie Ponsavady

“Where can I see this Vietnamese movie?” Try sitting on board a Vietnamese Airlines jet to Hanoi. In Vietnam, movie theaters have been replaced by multiplexes showing the latest American blockbusters. Foreigners are most likely to encounter Vietnamese cinema for the first time on the move, as they travel to the country, by selecting the World Cinema category of their in-flight entertainment system. Watching a Vietnamese movie will both distract them from the long-haul and give them a taste of their destination culture as they make their way there. Twice the displacement, experiencing Vietnamese cinema has become a vehicle for representations of mobility and an integral part of contemporary travel practices. This review will consider a variety of ways the mutual relationship between cinematic figurations of movement and processes of mobility have shaped Vietnamese cinema.

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Heidi Morrison, James S. Finley, Daniel Owen Spence, Aaron Hatley, Rachael Squire, Michael Ra-shon Hall, Stéphanie Vincent-Geslin, Sibo Chen, Tawny Andersen and Stéphanie Ponsavady

Oded Löwenheim, The Politics of the Trail: Reflexive Mountain Biking along the Frontier of Jerusalem (Heidi Morrison)

Judith Madera, Black Atlas: Geography and Flow in Nineteenth-Century African American Literature (James S. Finley)

Jane Carey and Jane Lydon, eds., Indigenous Networks: Mobility, Connections and Exchange (Daniel Owen Spence)

Gijs Mom, Atlantic Automobilism: Emergence and Persistence of the Car, 1895–1940 (Aaron Hatley)

Nicole Starosielski, The Undersea Network (Rachael Squire)

Sarah Jane Cervenak, Wandering: Philosophical Performances of Racial and Sexual Freedom (Michael Ra-shon Hall)

Yasmine Abbas, Le néo-nomadisme: mobilités, partage, transformations identitaires et urbaines (Stéphanie Vincent-Geslin)

Suzan Ilcan, Mobilities, Knowledge, and Social Justice (Sibo Chen)

Lesley Murray and Sara Upstone, eds., Researching and Representing Mobilities: Transdisciplinary Encounters (Tawny Andersen)

Novel Review

Michel Houellebecq, Soumission (Stéphanie Ponsavady)

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Jason Lim, Anne-Katrin Ebert, Jennifer Reut, Ernie Mellegers, Malcolm Tull, Liz Millward, Stéphanie Ponsavady, Patricia Lejoux, Nanny Kim, William Philpott and Steven D. Spalding

Pál Nyíri, Mobility and Cultural Authority in Contemporary China (Jason Lim)

Friedrich von Borries, ed., Berliner Atlas paradoxaler Mobilität (Anne-Katrin Ebert)

Toni Morrison, Home (Jennifer Reut)

Antonio Amado, Voiture Minimum, Le Corbusier and the Automobile (Ernie Mellegers)

Kurt Stenross, Madurese Seafarers. Prahus, Timber and Illegality on the Margins of the Indonesian State (Malcolm Tull)

Gordon Pirie, Cultures and Caricatures of British Imperial Aviation: Passengers, Pilots, Publicity (Liz Millward)

Christine R. Yano, Airborne Dreams: “Nisei“ Stewardesses and Pan American World Airways (Stéphanie Ponsavady)

Christophe Gay, Vincent Kaufmann, Sylvie Landriève, Stéphanie Vincent-Geslin, eds., Mobile/Immobile: Quels choix, quels droits pour 2030/Choices and Rights for 2030 (Patricia Lejoux)

Zhang Ellen Cong, Transformative Journeys: Travel and Culture in Song China (Nanny Kim)

Susan Sessions Rugh, Are We There Yet? The Golden Age of American Family Vacations (William Philpott)

Justin D. Edwards and Rune Graulund, Mobility at Large: Globalization, Textuality and Innovative Travel Writing (Steven D. Spalding)