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Vol. 43 (2001) through current issue
Criticism provides a forum for current scholarship on literature, media, music and visual culture. A place for rigorous theoretical and critical debate as well as formal and methodological self-reflexivity and experimentation, Criticism aims to present contemporary thought at its most vital.
From Intolerance to The Silence of the Lambs, motion pictures show crowds and power in complex, usually antagonistic, relationships. Key to understanding this opposition is an intrinsic capability of the cinema: transformation. Making unprecedented use of Elias Canetti's Crowds and Power, Lesley Brill explores crowds, power, and transformation throughout film history. The formation of crowds together with crowd symbols and representations of power create complex, unifying structures in two early masterpieces, The Battleship Potemkin and Intolerance. In Throne of Blood, power-seekers become increasingly isolated, while the crowd of the dead seduces and overwhelms the living. The conflict between crowds and power in Citizen Kane takes place both within the protagonist and between him and the people he tries to master. North by Northwest, Killer of Sheep, and The Silence of the Lambs are rich in hunting and predation and show the crowd as a pack; transformation—true, false, and failed—is the key to both attack and escape. Brill's study provides original insights into canonical movies and shows anew the central importance of transformation in film. Film theorists, critics, and historians will value this fresh and intriguing approach to film classics, which also has much to say about cinema itself and its unique relationship to mass audiences.
By dramatizing the intersection of self-interested capitalism and foundational violence in a mining camp in 1870s South Dakota, the HBO series Deadwood reinvented the television Western. In this volume, Ina Rae Hark examines the groundbreaking series from a variety of angles: its relationship to past iterations of the genre on the small screen; its production context, both within the HBO paradigm and as part of the oeuvre of its creator and showrunner David Milch; and its thematics. Hark’s comprehensive analysis also takes into account the series’ trademark use of language: both its unrelenting and ferocious obscenity and the brilliant complexity of its dialogue. Hark argues that Deadwood dissolves several traditional binaries of the Western genre. She demonstrates that while the show appears to pit individuality, savagery, lawlessness, social regulation, and civilization against each other, its narrative shows that apparent opposites are often analogues, and these forces can morph into allies very quickly. Indeed, perhaps the show’s biggest paradox and most profound revelation is that self-interest and communitarianism cannot survive without each other. Hark closely analyzes Al Swearengen (as played by Ian McShane), the character who most embodies this paradox. A brutal cutthroat and purveyor of any vice that can turn him a profit, Swearengen nevertheless becomes the figure who forges connections among the camp’s disparate individuals and shepherds their growth into a community. Deadwood is quintessentially, if unflatteringly, American in what it reveals about the dark underpinnings of national success rooted not in some renewed Eden but in a town that is, in the apt words of one of its promotional taglines, “a hell of a place to make your fortune.” Fans of the show and scholars of television history will enjoy Hark’s analysis of Deadwood.
City of Race and Class Violence, Revised Edition
Beginning with the legacy of the Ku Klux Klan and the industrial tyranny of the early twentieth century, Detroit: City of Race and Class Violence charts Detroit’s bitter history through the birth of industrial unionism, war time, the 1967 riots, and their effect on the city today. This revised edition pays particular attention to events since 1967: city politics, unemployment, and the creation of suburban boomtowns.
A Pictorial Celebration of the Greatest Players and Moments in Tigers History, 5th Edition
With over 500 carefully selected photographs, the fifth edition of The Detroit Tigers vividly illustrates the history of major league baseball in Detroit from 1881 through the 2014 season. Author William M. Anderson presents highlights and lowlights of each Tigers season and gives a context for appreciating the careers of the many players whose images grace the pages of the book. In thirteen chapters, The Detroit Tigers covers the team's history decade by decade. Anderson surveys the Tigers' earliest days, formidable championship teams, and legendary players, and updates this edition with the team's exploits since the 2008 season. He details the recent star-studded Tigers cast, including Miguel Cabrera, Justin Verlander, Max Scherzer, Victor Martinez, and David Price, and looks at the team's four consecutive Central Division titles, 2012 pennant win, and seasons of record-breaking attendance, despite its disappointments in deeper post-season play. Anderson has searched to find the most interesting and rarely seen photos for this volume, visiting all major repositories of baseball photographs as well as private collections. Presented chronologically with ample description, the photos form the core of this impressive book. The Detroit Tigers also includes a foreword by former Tigers shortstop and later, manager, Alan Trammell. Tigers fans old and new will appreciate the exhaustive history and striking images in this volume.
From Soul Talks to Talk Radio in Israeli Culture
The vision of communication as authentic dialogue, as the mutual communion of souls, has animated a great many twentieth century discussions of language and communication, both in scholarly writings and in various forms and contexts of popular culture. In its various manifestations, this communicative utopia has identified dialogue or conversation as a locus of authenticity of both individuals and groups. This study traces the ways in which this utopian vision of communication has played itself out in the particular context of Israeli society through the twentieth century, encapsulating central trends in the evolving Israeli cultural conversation over the years. In this sense, it is a historically-situated study of the cultural fluctuations of a given society in all its particularity. In another sense, however, it seeks to offer a more general statement about the culturally constructed nature of the quest for authenticity as a project of modernity by focusing on conceptions of communication and language as its quintessential loci.” —From the Introduction by Tamar Katriel
The Dick Van Dyke Show (CBS 1961-66) was a uniquely self-reflexive sitcom that drew on vaudevillian tropes at a time when vaudeville-based comedy variety was disappearing from television. At the same time, it reflected the liberal politics of the Kennedy era and gave equal time to home and work as it ushered in a new image of the sitcom family. In The Dick Van Dyke Show, author Joanne Morreale analyzes the series' innovative form and content that altered the terrain of the television sitcom.Morreale begins by finding the roots of The Dick Van Dyke Show in the vaudeville-based comedy variety show and the "showbiz" sitcom, even as it brought notable updates to the form. She also considers how the series reflects the social context of Kennedy's New Frontier and its impact on the television industry, as The Dick Van Dyke Show responded to criticisms of television as mass entertainment. She goes on to examine the series as an early example of quality television that also pointed to the complex narrative of today, examining the show's progressive representations of race, ethnicity, and gender that influenced the content of later sitcoms. Morreale concludes by considering The Dick Van Dyke Show's afterlife, suggesting that the various reappearances of the characters and the show itself demonstrates television's "transseriality." Fans of The Dick Van Dyke Show and readers interested in American television and cultural history will appreciate this insightful reading of the series.
Although dozens of disabled characters appear in the Grimms’ Children’s and Household Tales, the issue of disability in their collection has remained largely unexplored by scholars. In Disability, Deformity, and Disease in the Grimms’ Fairy Tales, author Ann Schmiesing analyzes various representations of disability in the tales and also shows how the Grimms’ editing (or “prostheticizing”) of their tales over seven editions significantly influenced portrayals of disability and related manifestations of physical difference, both in many individual tales and in the collection overall. Schmiesing begins by exploring instabilities in the Grimms’ conception of the fairy tale as a healthy and robust genre that has nevertheless been damaged and needs to be restored to its organic state. In chapter 2, she extends this argument by examining tales such as “The Three Army Surgeons” and “Brother Lustig” that problematize, against the backdrop of war, characters’ efforts to restore wholeness to the impaired or diseased body. She goes on in chapter 3 to study the gendering of disability in the Grimms’ tales with particular emphasis on the Grimms’ editing of “The Maiden Without Hands” and “The Frog King or Iron Henry.” In chapter 4, Schmiesing considers contradictions in portrayals of characters such as Hans My Hedgehog and the Donkey as both cripple and “supercripple”—a figure who miraculously “overcomes” his disability and triumphs despite social stigma. Schmiesing examines in chapter 5 tales in which no magical erasure of disability occurs, but in which protagonists are depicted figuratively “overcoming” disability by means of other personal abilities or traits. The Grimms described the fairy tale using metaphors of able-bodiedness and wholeness and espoused a Romantic view of their editorial process as organic restoration. Disability, Deformity, and Disease in the Grimms’ Fairy Tales shows, however, the extent to which the Grimms’ personal experience of disability and illness impacted the tales and reveals the many disability-related amendments that exist within them. Readers interested in fairy-tales studies and disability studies will appreciate this careful reading of the Grimms’ tales.