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Author: David E. Ruth
Publisher: University of Chicago Press
ISBN: 0226732185
Category : History
Languages : en
Pages : 217
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Book Description
Ruth shows that the media gangster was less a reflection of reality than a projection created from Americans' values, concerns, and ideas about what would sell.
Author: David E. Ruth
Publisher: University of Chicago Press
ISBN: 0226732185
Category : History
Languages : en
Pages : 217
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Book Description
Ruth shows that the media gangster was less a reflection of reality than a projection created from Americans' values, concerns, and ideas about what would sell.
Author: Lee Grieveson
Publisher: Rutgers University Press
ISBN: 9780813535579
Category : Language Arts & Disciplines
Languages : en
Pages : 328
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Book Description
Mob Culture offers a long-awaited, fresh look at the American gangster film, exposing its hidden histories from the Black Hand gangs of the early twentieth century to The Sopranos. Departing from traditional approaches that have typically focused on the "nature" of the gangster, the editors have collected essays that engage the larger question of how the meaning of criminality has changed over time. Grouped into three thematic sections, the essays examine gangster films through the lens of social, gender, and racial/ethnic issues.
Author: Shannon Wells-Lassagne
Publisher: McFarland
ISBN: 1476601658
Category : Performing Arts
Languages : en
Pages : 255
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Book Description
Rather than limiting the cinema, as certain French New Wave critics feared, adaptation has encouraged new inspiration to explore the possibilities of the intersection of text and film. This collection of essays covers various aspects of adaptation studies--questions of genre and myth, race and gender, readaptation, and pedagogical and practical approaches.
Author: Maria Pramaggiore
Publisher: State University of New York Press
ISBN: 0791480070
Category : Social Science
Languages : en
Pages : 258
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Book Description
Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American films, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W. E. B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance.
Author: Kali N. Gross
Publisher: Duke University Press
ISBN: 0822387700
Category : Social Science
Languages : en
Pages : 275
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Book Description
Colored Amazons is a groundbreaking historical analysis of the crimes, prosecution, and incarceration of black women in Philadelphia at the turn of the twentieth century. Kali N. Gross reconstructs black women’s crimes and their representations in popular press accounts and within the discourses of urban and penal reform. Most importantly, she considers what these crimes signified about the experiences, ambitions, and frustrations of the marginalized women who committed them. Gross argues that the perpetrators and the state jointly constructed black female crime. For some women, crime functioned as a means to attain personal and social autonomy. For the state, black female crime and its representations effectively galvanized and justified a host of urban reform initiatives that reaffirmed white, middle-class authority. Gross draws on prison records, trial transcripts, news accounts, and rare mug shot photographs. Providing an overview of Philadelphia’s black women criminals, she describes the women’s work, housing, and leisure activities and their social position in relation to the city’s native-born whites, European immigrants, and elite and middle-class African Americans. She relates how news accounts exaggerated black female crime, trading in sensationalistic portraits of threatening “colored Amazons,” and she considers criminologists’ interpretations of the women’s criminal acts, interpretations largely based on notions of hereditary criminality. Ultimately, Gross contends that the history of black female criminals is in many ways a history of the rift between the political rhetoric of democracy and the legal and social realities of those marginalized by its shortcomings.
Author: George S. Larke-Walsh
Publisher: McFarland
ISBN: 0786456132
Category : Performing Arts
Languages : en
Pages : 289
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Book Description
The "post-classic" era of American gangster films began in 1967 with the release of Bonnie and Clyde, achieving a milestone five years later with the popular and highly influential The Godfather. This historical study explores the structure, myths and intertextual narratives found in the gangster films produced since The Godfather. The intense relationship between masculinity and ethnicity in the gangster film, especially within the movie-generated mythology of the Mafia, is carefully analyzed, and the book tracks the trends in the genre up to and including the landmark HBO television series The Sopranos (1999-2007). A selected filmography is included. Instructors considering this book for use in a course may request an examination copy here.
Author: Thomas Borstelmann
Publisher: Columbia University Press
ISBN: 0231550359
Category : History
Languages : en
Pages : 184
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Book Description
Americans have long considered themselves a people set apart, but American exceptionalism is built on a set of tacit beliefs about other cultures. From the founding exclusion of indigenous peoples and enslaved Africans to the uneasy welcome of waves of immigrants, from republican disavowals of colonialism to Cold War proclamations of freedom, Americans’ ideas of their differences from others have shaped the modern world—and how Americans have viewed foreigners is deeply revealing of their assumptions about themselves. Just Like Us is a pathbreaking exploration of what foreignness has meant across American history. Thomas Borstelmann traces American ambivalence about non-Americans, identifying a paradoxical perception of foreigners as suspiciously different yet fundamentally sharing American values beneath the layers of culture. Considering race and religion, notions of the American way of life, attitudes toward immigrants, competition with communism, Americans abroad, and the subversive power of American culture, he offers a surprisingly optimistic account of the acceptance of difference. Borstelmann contends that increasing contact with peoples around the globe during the Cold War encouraged mainstream society to grow steadily more inclusive. In a time of resurgent nativism and xenophobia, Just Like Us provides a reflective, urgent examination of how Americans have conceived of foreignness and their own exceptionalism throughout the nation’s history.
Author: J.E. Smyth
Publisher: University Press of Kentucky
ISBN: 0813137284
Category : History
Languages : en
Pages : 464
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Book Description
In Reconstructing American Historical Cinema: From Cimarron to Citizen Kane, J. E. Smyth dramatically departs from the traditional understanding of the relationship between film and history. By looking at production records, scripts, and contemporary reviews, Smyth argues that certain classical Hollywood filmmakers were actively engaged in a self-conscious and often critical filmic writing of national history. Her volume is a major reassessment of American historiography and cinematic historians from the advent of sound to the beginning of wartime film production in 1942. Focusing on key films such as Cimarron (1931), The Public Enemy (1931), Scarface (1932), Ramona (1936), A Star Is Born (1937), Jezebel (1938), Young Mr. Lincoln (1939), Gone with the Wind (1939), Stagecoach (1939), and Citizen Kane (1941), Smyth explores historical cinema's connections to popular and academic historigraphy, historical fiction, and journalism, providing a rich context for the industry's commitment to American history. Rather than emphasizing the divide between American historical cinema and historical writing, Smyth explores the continuities between Hollywood films and history written during the first four decades of the twentieth century, from Carl Becker's famous "Everyman His Own Historian" to Howard Hughes's Scarface to Margaret Mitchell and David O. Selznick's Gone with the Wind. Hollywood's popular and often controversial cycle of historical films from 1931 to 1942 confronted issues as diverse as frontier racism and women's experiences in the nineteenth-century South, the decline of American society following the First World War, the rise of Al Capone, and the tragic history of Hollywood's silent era. Looking at rarely discussed archival material, Smyth focuses on classical Hollywood filmmakers' adaptation and scripting of traditional historical discourse and their critical revision of nineteenth- and twentieth-century American history. Reconstructing American Historical Cinema uncovers Hollywood's diverse and conflicted attitudes toward American history. This text is a fundamental challenge the prevailing scholarship in film, history, and cultural studies.
Author: Susan Nance
Publisher: Univ of North Carolina Press
ISBN: 0807894052
Category : History
Languages : en
Pages : 359
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Book Description
Americans have always shown a fascination with the people, customs, and legends of the "East--witness the popularity of the stories of the Arabian Nights, the performances of Arab belly dancers and acrobats, the feats of turban-wearing vaudeville magicians, and even the antics of fez-topped Shriners. In this captivating volume, Susan Nance provides a social and cultural history of this highly popular genre of Easternized performance in America up to the Great Depression. According to Nance, these traditions reveal how a broad spectrum of Americans, including recent immigrants and impersonators, behaved as producers and consumers in a rapidly developing capitalist economy. In admiration of the Arabian Nights, people creatively reenacted Eastern life, but these performances were also demonstrations of Americans' own identities, Nance argues. The story of Aladdin, made suddenly rich by rubbing an old lamp, stood as a particularly apt metaphor for how consumer capitalism might benefit each person. The leisure, abundance, and contentment that many imagined were typical of Eastern life were the same characteristics used to define "the American dream." The recent success of Disney's Aladdin movies suggests that many Americans still welcome an interpretation of the East as a site of incredible riches, romance, and happy endings. This abundantly illustrated account is the first by a historian to explain why and how so many Americans sought out such cultural engagement with the Eastern world long before geopolitical concerns became paramount.
Author: Sandra M. Falero
Publisher: Springer
ISBN: 113750000X
Category : Social Science
Languages : en
Pages : 212
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Book Description
In this study, Falero explores how online communities of participatory audiences have helped to re-define authorship and audience in the digital age. Using over a decade of ethnographic research, Digital Participatory Culture and the TV Audience explores the rise and fall of a site that some heralded as ground zero for the democratization of television criticism. Television Without Pity was a web community devoted to criticizing television programs. Their mission was to hold television networks and writers accountable by critiquing their work and “not just passively sitting around watching.” When executive producer Aaron Sorkin entered Television Without Pity’s message boards on The West Wing in late 2001, he was surprised to find the discussion populated by critics rather than fans. His anger over the criticism he found there wound up becoming a storyline in a subsequent episode of The West Wing wherein web critics were described as “obese shut-ins who lounge around in muumuus and chain-smoke Parliaments.” This book examines the culture at Television Without Pity and will appeal to students and researchers interested in audiences, digital culture and television studies.
