Keeping with her broader interests in cultural studies, diaspora, and visual media, Rey Chow's latest book, Entanglements, or Transmedial Thinking About Capture, stands at the intersection of aesthetics and politics to confront the role of the mediated image in renewed modes of transnational communication. In each of the eight chapters, written as separate essays throughout 1999-2010, Chow consistently and convincingly weaves together a theory of what she calls "entanglements"-a critical terminology anchored within and against poststructural and postcolonial interests in global ruptures, displacements, and local specificities. "Entanglements" as a theoretical framework for transnational cultural studies indicates that physical proximity and historical continuity are no longer sufficient measures of the spaces of cultural contact; neither is rupture the only remaining line of difference. Hence, "entanglements" offers a wholly other and self-proliferating mode of address for rethinking ties to political visibility and representation, captivity and victimization, and retributive justice, and collective power. Two axial planes seem to organize the book: the first six chapters are interested in evoking an emancipatory field with respect to captivity, victimhood, agencial mimesis, and reflexivity as parts of a social structure, while the final two return to the Foucaultian maxim-visibility is a trap-in order to suggest entanglement as a political practice in place of resistance against hypermediated transnationalist governance. An interesting, yet necessary, place for theorizing entanglements is estrangement. A detailed exegesis of "estrangement" and its various conjectures as iterated by Viktor Shklovsky, Bertolt Brecht, and Walter Benjamin allows Chow to begin laying the ground for "entanglements," rooted as a logical extension of twentieth century critical thought on subjective experience and material reality. By moving away from the formalist measures of proximity (distance) or affinity (identification), Chow tracks situations that have arisen since the wide-scale redistribution of the scattered and fragmented: "if art since modernism has been about a heightened sense of estrangement (or defamiliarization), estrangement itself is often a result of the intensification-one could www.interstitialjournal.com • September: 2014 • 1