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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.
New Directions and Interdisciplinary Perspectives
The Cinderella story is retold continuously in literature, illustration, music, theatre, ballet, opera, film, and other media, and folklorists have recognized hundreds of distinct forms of Cinderella plots worldwide. The focus of this volume, however, is neither Cinderella as an item of folklore nor its alleged universal meaning. In Cinderella across Cultures, editors Martine Hennard Dutheil de la Rochère, Gillian Lathey, and Monika Wozniak analyze the Cinderella tale as a fascinating, multilayered, and ever-changing story constantly reinvented in different media and traditions. The collection highlights the tale's reception and adaptation in cultural and national contexts across the globe, including those of Italy, France, Germany, Britain, the Netherlands, Poland, and Russia. Contributors shed new light on classic versions of Cinderella by examining the material contexts that shaped them (such as the development of glass artifacts and print techniques), or by analyzing their reception in popular culture (through cheap print and mass media). The first section, "Contextualizing Cinderella," investigates the historical and cultural contexts of literary versions of the tale and their diachronic transformations. The second section, "Regendering Cinderella," tackles innovative and daring literary rewritings of the tale in the twentieth and twenty-first centuries, in particular modern feminist and queer takes on the classic plot. Finally, the third section, "Visualising Cinderella," concerns symbolic transformations of the tale, especially the interaction between text and image and the renewal of the tale's iconographic tradition.The volume offers an invaluable contribution to the study of this particular tale and also to fairy-tale studies overall. Readers interested in the visual arts, in translation studies, or in popular culture, as well as a wider audience wishing to discover the tale anew will delight in this collection.
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.
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.
The Journals of Mordecai M. Kaplan, Volume 2: 1934-1941
Mordecai M. Kaplan (1881-1983), founder of Reconstructionism, is the preeminent American Jewish thinker and rabbi of our times. His life embodies the American Jewish experience of the first half of the twentieth century. With passionate intensity and uncommon candor, Kaplan compulsively recorded his experience in his journals, some ten thousand pages. At times, Kaplan thought his ideas were too radical or complex to share with his congregation, and what he could not share publicly he put into his journals. In this diary we find his uncensored thoughts on a variety of subjects. Thus, the diary was much more sophisticated and radical than anything he published while living.While in the first volume of Communings of the Spirit, editor Mel Scult covers Kaplan's early years as a rabbi, teacher of rabbis, and community leader, in the second volume we experience through Kaplan the economic problems of the thirties and their shattering impact on the Jewish community. It becomes clear that Kaplan, like so many others during this period, was attracted to the solutions offered by communism, notwithstanding some hesitation because of the anti-religious nature of communist ideology. Through Kaplan we come to understand the Jewish community in the yishuv (Jews in Palestine) as Kaplan spent two years teaching at the Hebrew University in Jerusalem and his close circle of friends included Martin Buber, Judah Leon Magnes, and other prominent personalities. It is also during this time that the specter of Nazi Germany begins to haunt American Jews, and Kaplan, sensitive to the threats, is obsessed with Jewish security, both in Europe and Palestine.More than anything else, this diary is the chronicle of Kaplan's spiritual and intellectual journey in the early 1930s and 1940s. With honesty and vivid detail, Kaplan explores his evolving beliefs on religious naturalism and his uncertainties and self-doubts as he grapples with a wide range of theological issues.