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A Study of a Peculiar People
In its first appearance in 1892, Israel Zangwill's Children of the Ghetto created a sensation in both England and America, becoming the first Anglo-Jewish bestseller and establishing Zangwill as the literary voice of Anglo-Jewry. A novel set in late nineteenth-century London, Children of the Ghetto gave an inside look into an immigrant community that was almost as mysterious to the more established middle-class Jews of Britain as to the non-Jewish population, providing a compelling analysis of a generation caught between the ghetto and modern British life. This volume brings back to print the 1895 edition of Children of the Ghetto, the latest American version known to have been corrected by the author. Meri-Jane Rochelson places the novel in proper context by providing a biographical, historical, and critical introduction; a bibliography of primary and secondary sources; and notes on the text, making this ground-breaking novel accessible to a new generation of readers, both Jewish and non-Jewish alike.
Exploring the Role of Forts, Dens, and Bush Houses in Middle Childhood
From the ages of five to twelve, the middle years of childhood, young people explore their surroundings and find or construct private spaces. In these secret places, children develop and control environments of their own and enjoy freedom from the rules of the adult world. Children's Special Places enters these hidden worlds, reveals their importance to children's development and emotional health, and shows educators, parents, and other adults how they can foster a bond between young people and nature that is important to maturation.
Beginning in the 1890s, the social gospel movement and its secular counterpart, the Progressive movement, set the stage for powerful church and city governance connections. What followed during the next 100 years was the emergence of religious bodies as an important instrument for influencing City Hall on moral and social issues. Churches and Urban Government compares the governing styles of Detroit and New York City from 1895 to 1994 and looks at the steps city-wide religious bodies took to advance the interests of their communities and their local government during this chaotic period in urban history. Detroit and New York City make for a very interesting case study when casting the two cities’ many similarities against their contrasting urban governance styles. What these cities share is a longstanding liberal political culture and comparable ethnic and racial diversity as well as large populations of Catholics and Protestants. Emphasizing the role of Black churches, Henry J. Pratt—with additional material from Ronald Brown—examines how immigration, the Great Depression, and the Civil Rights movement all nurtured this developing link between religion and politics, helping churches evolve into leadership roles within these metropolitan centers.
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.
Mrs. Henry Ford
"Pick a good model and stay with it," Henry Ford once said. No, he was not talking about cars; he was talking about marriage. Was Clara Bryant Ford a "good model"? Her husband of fifty-nine years seems to have thought so. He called her "The Believer," and indeed Clara's unwavering support of Henry's pursuits and her patient tolerance of the quirks and obsessions that accompanied her husband's genius made it possible for him to change the world. In telling the story of Clara Ford, author Ford Bryan also charts the course of the growing automobile industry and the life of the enigmatic man at its helm. But the book's heart is Clara herself—daughter, sister, wife, mother, and grandmother; cook, gardener, and dancer; modest philanthropist and quiet role model. Clara is newly revealed in accounts and documents gleaned from personal papers, oral histories, and archival material never made public until now. These include receipts and recipes, diaries and genealogies, and 175 photographs.
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.