Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917
Caught between the older model of short film and the emerging classic era, the transitional period of American cinema (1907-1917) has typically posed a problem for studies of early American film. Yet in Cinema and Community: Progressivism, Exhibition, and Film Culture in Chicago, 1907-1917, author Moya Luckett uses the era's dominant political ideology as a lens to better understand its cinematic practice. Luckett argues that movies were a typically Progressive institution, reflecting the period's investment in leisure, its more public lifestyle, and its fascination with celebrity. She uses Chicago, often considered the nation's most Progressive city and home to the nation's largest film audience by 1907, to explore how Progressivism shaped and influenced the address, reception, exhibition, representational strategies, regulation, and cultural status of early cinema. After a survey of Progressivism's general influences on popular culture and the film industry in particular, she examines the era's spectatorship theories in chapter 1 and then the formal characteristics of the early feature film-including the use of prologues, multiple diegesis, and oversight-in chapter 2. In chapter 3, Luckett explores the period's cinema in the light of its celebrity culture, while she examines exhibition in chapter 4. She also looks at the formation of Chicago's censorship board in November 1907 in the context of efforts by city government, social reformers, and the local press to establish community standards for cinema in chapter 5. She completes the volume by exploring race and cinema in chapter 6 and national identity and community, this time in relation to World War I, in chapter 7. As well as offering a history of an underexplored area of film history, Luckett provides a conceptual framework to help navigate some of the period's key issues. Film scholars interested in the early years of American cinema will appreciate this insightful study.
From Iceland to Iran, from Singapore to Scotland, a growing intellectual and cultural wave of production is taking cinema beyond the borders of its place of origin—exploring faraway places, interacting with barely known peoples, and making new localities imaginable. In these films, previously entrenched spatial divisions no longer function as firmly fixed grid coordinates, the hierarchical position of place as “center” is subverted, and new forms of representation become possible. In Cinema at the Periphery, editors Dina Iordanova, David Martin-Jones, and Belén Vidal assemble criticism that explores issues of the periphery, including questions of transnationality, place, space, passage, and migration. Cinema at the Periphery examines the periphery in terms of locations, practices, methods, and themes. It includes geographic case studies of small national cinemas located at the global margins, like New Zealand and Scotland, but also of filmmaking that comes from peripheral cultures, like Palestinian “stateless” cinema, Australian Aboriginal films, and cinema from Quebec. Therefore, the volume is divided into two key areas: industries and markets on the one hand, and identities and histories on the other. Yet as a whole, the contributors illustrate that the concept of “periphery” is not fixed but is always changing according to patterns of industry, ideology, and taste. Cinema at the Periphery highlights the inextricable interrelationship that exists between production modes and circulation channels and the emerging narratives of histories and identities they enable. In the present era of globalization, this timely examination of the periphery will interest teachers and students of film and media studies.
Civic Culture and Urban Change analyzes the Dallas government’s adaptation to shifts in its demography and economic structure that occurred after the assassination of President John F. Kennedy in 1963. The book examines civic culture as a product of a governing regime and the constraints it placed on the capacity of the city to adapt to changes in its population, economy, and the distribution of political power. Royce Hanson traces the impact of civic culture in Dallas over the past forty years upon the city’s handling of major crises in education, policing, and management of urban development and shows the reciprocal effect of those responses on the development of civic capital. Hanson relates the city’s civic culture to its economic history and political institutions by following the progression of Dallas governance from business oligarchy to regency of professional managers and federal judges. He studies the city’s responses to school desegregation, police–minority conflicts, and other issues to illuminate the role civic and organizational cultures play in shaping political tactics and policy. Hanson builds a profile of political life in Dallas that highlights the city’s low voter turnouts, sparse civic and political networks, and relative lack of multiracial institutions and mechanisms. Civic Culture and Urban Change summarizes the "solution sets" Dallas employs in dealing with major issues, and discusses the implications of those findings for the future of effective democracy in Dallas and other large cities.
German Film and Its Politics at the Turn of the Twenty-First Century
While difficult questions of history, culture, and politics figured less prominently in the lighter cinematic fare of the 1980s and 1990s, German filmmakers have recaptured the world’s attention since the turn of the millennium with vital, dynamic, and engaged works. In fact, today’s filmmakers have turned back to many themes that were important in the 1960s and 1970s, when a movement of young filmmakers proclaimed the collapse of existing filmmaking conventions. In The Collapse of the Conventional: German Film and Its Politics at the Turn of the Twenty-First Century, editors Jaimey Fisher and Brad Prager present contributions from prominent German film studies scholars to examine the current politically charged and provocative moment in German filmmaking historically, ideologically, and formally as another break with cinematic convention. Fisher and Prager introduce the volume with a look back at the history of German film to define New German Cinema and identify the themes and motives that characterize its films and filmmakers. In the first section, essays explore the cinematic treatment of German national identity in historical films, including those that confront Germany’s Nazi past, such as Downfall, The Miracle of Bern, and the TV-film Dresden. The second section takes on German cinema’s examination of life in East Germany and the consequences of reunification by analyzing the films Good Bye, Lenin and The Lives of Others. The Collapse of the Conventional also examines new groundbreaking work by filmmakers such as Christian Petzold, Fatih Ak?n, and Christoph Hochhäusler to investigate how German film critically approaches globalization and the end of the cold war. This collection shows that today’s German filmmakers are delving into new modes of cinematic production in a global context. Students, scholars of film, and anyone interested in German and cultural studies will appreciate this volume.
Ernie Goodman, Detroit, and the Struggle for Labor and Civil Rights
In a working life that spanned half a century, Ernie Goodman was one of the nation’s preeminent defense attorneys for workers and the militant poor. His remarkable career put him at the center of the struggle for social justice in the twentieth century, from the sit-down strikes of the 1930s to the Red Scare of the 1950s to the freedom struggles, anti-war demonstrations, and ghetto rebellions of the 1960s and 1970s. The Color of Law: Ernie Goodman, Detroit, and the Struggle for Labor and Civil Rights traces Goodman’s journey through these tumultuous events and highlights the many moments when changing perceptions of social justice clashed with legal precedent. Authors Steve Babson, Dave Riddle, and David Elsila tell Goodman’s life story, beginning with his formative years as the son of immigrant parents in Detroit’s Jewish ghetto, to his early ambitions as a corporate lawyer, and his conversion to socialism and labor law during the Great Depression. From Detroit to Mississippi, Goodman saw police and other officials giving the “color of law” to actions that stifled freedom of speech and nullified the rights of workers and minorities. The authors highlight Goodman’s landmark cases in defense of labor and civil rights and examine the complex relationships he developed along the way with individuals like Supreme Court Justice and former Michigan governor Frank Murphy, UAW president Walter Reuther, Detroit mayor Coleman Young, and congressman George Crockett. Drawing from a rich collection of letters, oral histories, court records, and press accounts, the authors re-create the compelling story of Goodman’s life. The Color of Law demonstrates that the abuse of power is non-partisan and that individuals who oppose injustice can change the course of events. For additional information, reviews, photos, and events, please see erniegoodman.com.
Gender, Trauma, and Uncanny Films in the Weimar Republic
In The Colored Car, Jean Alicia Elster, author of the award-winning Who's Jim Hines?, follows another member of the Ford family coming of age in Depression-era Detroit. In the hot summer of 1937, twelve-year-old Patsy takes care of her three younger sisters and helps her mother put up fresh fruits and vegetables in the family's summer kitchen, adjacent to the wood yard that her father, Douglas Ford, owns. Times are tough, and Patsy's mother, May Ford, helps neighborhood families by sharing the food that she preserves. But May's decision to take a break from canning to take her daughters for a visit to their grandmother's home in Clarksville, Tennessee, sets in motion a series of events that prove to be life-changing for Patsy. After boarding the first-class train car at Michigan Central Station in Detroit and riding comfortably to Cincinnati, Patsy is shocked when her family is led from their seats to change cars. In the dirty, cramped "colored car," Patsy finds that the life she has known in Detroit is very different from life down south, and she can hardly get the experience out of her mind when she returns home-like the soot stain on her finely made dress or the smear on the quilt squares her grandmother taught her to sew. As summer wears on, Patsy must find a way to understand her experience in the colored car and also deal with the more subtle injustices that her family faces in Detroit. By the end of the story, Patsy will never see things the same way that she did before. Elster's engaging narrative illustrates the personal impact of segregation and discrimination and reveals powerful glimpses of everyday life in 1930's Detroit. For young readers interested in American history, The Colored Car is engrossing and informative reading.
In Comparative Perspectives on Judaisms and Jewish Identities author Stephen Sharot uses his work published in journals and collected volumes over the past thirty-five years to examine a range of Jewish communities across both time and geography. Sharot’s sociological analyses consider religious developments and identities in diverse Jewish communities from Imperial China and Renaissance Italy to contemporary Israel and the United States. As Sharot examines these groups, other religions enter into the discussion as well, not only as major elements in the environments of Jewish communities but also with respect to certain religious phenomena that too have been present in Judaism. The book is divided into four parts: the first compares religious developments in pre-modern and early modern Jewish communities; the second focuses on Jewish religious movements, especially messianic-millennial and antinomian, in the pre-modern and early modern period; the third examines Jewish religious and ethnic identities in the modern period; and the fourth relates developments in Judaism in the modern period to theoretical debates on secularization, fundamentalism, and public religion in the sociology of religion. The afterword sums up the findings of the previous sections and compares the boundaries and boundary shifts among Jewish communities. As the plural “Judaisms” in the title indicates, Sharot discusses extensive differences in the religious characteristics between Jewish communities. Scholars of religion and sociology will appreciate this informative and fascinating volume.
A Study of Black Identity and Self-Esteem
Institutional racism has had a major impact on the development of African American self-esteem and group identity. Through the years, African Americans have developed strong, tenacious concepts of self partially based on African cultural and philosophical retentions and as a reaction to historical injustices. The Concept of Self examines the historical basis for the widely misunderstood ideas of how African Americans think of themselves individually, and how they relate to being part of a group that has been subjected to challenges of their very humanity. Richard Allen examines past scholarship on African American identity to explore a wide range of issues leading to the formation of an individual and collective sense of self. Allen traces the significance of social forces that have impinged on the lives of African Americans and points to the uniqueness of their position in American society. He then focuses on the results from the National Survey of Black Americans—a national survey of African Americans on a wide range of political, social, and psychological issues—to develop a model of African self. Allen explores the idea of double-consciousness as put forth by W.E.B. DuBois against the more recent debates of Afrocentricity or an African-centered consciousness. He proposes a set of interrelated hypotheses regarding how African Americans might use an African worldview for the upliftment of Africans in the Diaspora. The Concept of Self will interest students and scholars of African American studies, sociology and population studies
Detroit is the world capital of the coney island hot dog—a natural-casing hot dog topped with an all-meat beanless chili, chopped white onions, and yellow mustard. In Coney Detroit, authors Katherine Yung and Joe Grimm investigate all aspects of the beloved regional delicacy, which was created by Greek immigrants in the early 1900s. Coney Detroit traces the history of the coney island restaurant, which existed in many cities but thrived nowhere as it did in Detroit, and surveys many of the hundreds of independent and chain restaurants in business today. In more than 150 mouth-watering photographs and informative, playful text, readers will learn about the traditions, rivalries, and differences between the restaurants, some even located right next door to each other. Coney Detroit showcases such Metro Detroit favorites as American Coney Island, Lafayette Coney Island, Duly’s Coney Island, Kerby’s Coney Island, National Coney Island, and Leo’s Coney Island. As Yung and Grimm uncover the secret ingredients of an authentic Detroit coney, they introduce readers to the suppliers who produce the hot dogs, chili sauce, and buns, and also reveal the many variations of the coney—including coney tacos, coney pizzas, and coney omelets. While the coney legend is centered in Detroit, Yung and Grimm explore coney traditions in other Michigan cities, including Flint, Jackson, Kalamazoo, Port Huron, Pontiac, and Traverse City, and even venture to some notable coney islands outside of Michigan, from the east coast to the west. Most importantly, the book introduces and celebrates the families and individuals that created and continue to proudly serve Detroit’s favorite food. Not a book to be read on an empty stomach, Coney Detroit deserves a place in every Detroiter or Detroiter-at-heart’s collection.
Memory, Origin, and Discourses in Black Diasporic Cinema
Created at the crossroads of slavery, migration, and exile, and comprising a global population, the black diaspora is a diverse space of varied histories, experiences, and goals. Likewise, black diasporic film tends to focus on the complexities of transnational identity, which oscillates between similarity and difference and resists easy categorization. In Contact Zones author Sheila J. Petty addresses a range of filmmakers, theorists, and issues in black diasporic cinema, highlighting their ongoing influences on contemporary artistic and theoretical discourses. Petty examines both Anglophone and Francophone films and theorists, divided according to this volume’s three thematic sections—Slavery, Migration and Exile, and Beyond Borders. The feature films and documentaries considered—which include Sankofa, Daughters of the Dust, The Man by the Shore, and Rude, among others—represent a wide range of cultures and topics. Through close textual analysis that incorporates the work of well-known diasporic thinkers like W. E. B. DuBois, Aimé Césaire, and Frantz Fanon along with contemporary notables such as Molefi Kete Asante, bell hooks, Clenora Hudson-Weems, René Depestre, Paul Gilroy, and Rinaldo Walcott, Petty details the unique ways in which black diasporic films create meaning. By exploring a variety of African American, Caribbean, Black British, and African Canadian perspectives, Contact Zones provides a detailed survey of the diversity and vitality of black diasporic contributions to cinema and theory. This volume will be a welcome addition to the libraries of scholars and students of film studies and Africana studies.