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How Bear Hunters, Hillbillies, and Good Ol’ Boys Defined a State
Arkansas/Arkansaw is the first book to explain how Arkansas’s image began and how the popular culture stereotypes have been perpetuated and altered through succeeding generations. Brooks Blevins argues that the image has not always been a bad one. He discusses travel accounts, literature, radio programs, movies, and television shows that give a very positive image of the Natural State. From territorial accounts of the Creole inhabitants of the Mississippi River Valley to national derision of the state’s triple-wide governor’s mansion to Li’l Abner, the Beverly Hillbillies, and Slingblade, Blevins leads readers on an entertaining and insightful tour through more than two centuries of the idea of Arkansas. One discovers along the way how one state becomes simultaneously a punch line and a source of admiration for progressives and social critics alike.
Murder as Art in Modern Mexico
Violence as a way of life, and murder as a political tool. This philosophy is nothing new to Mexico, most recently demonstrated in the wave of assassination and indiscriminate killing brought on by the drug war gripping the country. In Artful Assassins, author and scholar Fernando Fabio Sánchez unveils the long record of violence inspiring artistic expression in Mexico, focusing on its use and portrayal in film and literature. Sánchez is uniquely positioned to explore this topic, through his work as a novelist and poet in Mexico before entering academia in the United States. Sanchez argues that the seemingly hopeless cycle of violence experienced by Mexico in the 20th century, as reflected in its "crime genre," reveals a broader intrinsic cultural and political failure that suggests grave implications for the current state of crisis. Tracing the development of a national Mexican identity from the 1910 Mexican Revolution onward, Sánchez focuses on the indelible presence of violence and crime underlying the major works that contributed to a larger communal narrative. Artful Assassins ultimately offers a panoramic overview of the evolution of Mexican arts and letters, as well as nationalism, by claiming murder and assassination as literary and cinematic motifs. The collapse of post-revolutionary political unity was presaged all along in Mexican culture, Sanchez argues. It need only to have been sought in the art of the nation.
Life Writing in Pictures
A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth.
In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles.
Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.
Reinterpreting Disability Rights
For civil rights lawyers who toiled through the 1980s in the increasingly barren fields of race and sex discrimination law, the approval of the Americans with Disabilities Act in 1990 by a nearly unanimous U.S. House and Senate and a Republican President seemed almost fantastic. Within five years of the Act's effective date, however, observers were warning of an unfolding assault on the ADA by federal judges, the media, and other national opinion-makers. A year after the Supreme Court issued a trio of decisions in the summer of 1999 sharply limiting the ADA's reach, another decision invalidated an entire title of the act as it applied to the states. By this time, disability activists and disability rights lawyers were speaking openly of a backlash against the ADA. What happened, why did it happen, and what can we learn from the patterns of public, media, and judicial response to the ADA that emerged in the 1990s? In this book, a distinguished group of disability activists, disability rights lawyers, social scientists and humanities scholars grapple with these questions. Taken together, these essays construct and illustrate a new and powerful theoretical model of sociolegal change and retrenchment that can inform both the conceptual and theoretical work of scholars and the day-to-day practice of social justice activists. Contributors include Lennard J. Davis, Matthew Diller, Harlan Hahn, Linda Hamilton Krieger, Vicki A. Laden, Stephen L. Percy, Marta Russell, and Gregory Schwartz. Backlash Against the ADA will interest disability rights activists, lawyers, law students and legal scholars interested in social justice and social change movements, and students and scholars in disability studies, political science, media studies, American studies, social movement theory, and legal history. Linda Hamilton Krieger is Professor of Law, University of California School of Law, Berkeley.
Infamy, Darkness, Evil, and Slime on Screen
Violence and corruption sell big, especially since the birth of action cinema, but even from cinema’s earliest days, the public has been delighted to be stunned by screen representations of negativity in all its forms—evil, monstrosity, corruption, ugliness, villainy, and darkness. Bad examines the long line of thieves, rapists, varmints, codgers, dodgers, manipulators, exploiters, conmen, killers, vamps, liars, demons, cold-blooded megalomaniacs, and warmhearted flakes that populate cinematic narrative. From Nosferatu to The Talented Mr. Ripley, the contributors consider a wide range of genres and use a variety of critical approaches to examine evil, villainy, and immorality in twentieth-century film.
A Black Doctor's Civil Rights Struggle
This book, the first to focus on the integration of the Gulf Coast, is Dr. Gilbert R. Mason's eyewitness account of harrowing episodes that occurred there during the civil rights movement. Newly opened by court order, documents from the Mississippi Sovereignty Commission's secret files enhance this riveting memoir written by a major civil rights figure in Mississippi. He joined his friends and allies Aaron Henry and the martyred Medgar Evers to combat injustices in one of the nation's most notorious bastions of segregation.
In Mississippi, the civil rights struggle began in May 1959 with "wade-ins." In open and conscious defiance of segregation laws, Mason led nine black Biloxians onto a restricted spot along the twenty-six-mile beach. A year later more wade-ins on beaches reserved for whites set off the bloodiest race riot in the state's history and led the U.S. Justice Department to initiate the first-ever federal court challenge of Mississippi's segregationist laws and practices. Simultaneously, Mason and local activists began their work on the state's first school desegregation suit. As the coordinator of the strategy, he faced threats to his life.
Mason's memoir gives readers a documented journey through the daily humiliations that segregation and racism imposed upon the black populace -- upon fathers, mothers, children, laborers, and professionals. Born in 1928 in the slums of Jackson, Mason acknowledges the impact of his strong extended family and of the supportive system of institutions in the black neighborhood. They nurtured him to manhood and helped fulfill his dream of becoming a physician.
His story recalls the great migration of blacks to the North, of family members who remained in Mississippi, of family ties in Chicago and other northern cities. Following graduation from Tennessee State and Howard University Medical College, he set up his practice in the black section of Biloxi in 1955 and experienced the restrictions that even a black physician suffered in the segregated South. Four years later, he began his battle to dismantle the Jim Crow system. This is the story of his struggle and hard-won victory.
Gilbert R. Mason, M.D., continues as a practicing physician in Biloxi. Although a life-long Democrat, he served as a school-desegregation adviser to the Republican administration of President Nixon, as well as a friend, adviser, and appointee of several Mississippi governors.
James Patterson Smith is an associate professor of history at the University of Southern Mississippi. He has published in numerous periodicals, including the Journal of Negro History and the Journal of Mississippi History.
Image and the Media
The Beatles: Image and the Media charts the transformation of the Beatles from teen idols to leaders of the youth movement and powerful cultural agents. Drawing upon American mainstream print media, broadcasts, albums, films, and videos, the study covers the band's career in the United States. Michael R. Frontani explores how the Beatles' media image evolved and how this transformation related to cultural and historical events. Upon their arrival in the U.S., the Beatles wore sharply tailored suits and cast themselves as adorable, accessible teen heartthrobs. By the end of the decade, they had absorbed the fashion and consciousness of the burgeoning counterculture and were using their interviews, media events, and music to comment on issues such as the Vietnam War, drug culture, and civil rights. Frontani traces the steps that led to this change and comments on how the band's mantra of essential optimism never wavered despite the evolution of its media profile. Michael R. Frontani is associate professor of communications at Elon University. His work has appeared in American Journalism, Journal of American Culture, Journalism History, and African Studies Review.
The Work of Elmore Leonard
Widely known as the crime fiction writer whose work led to the movies Get Shorty and Out of Sight, Elmore Leonard has a special knack for creating cool characters, which for him means characters who are good at what they do. The dope dealers, bookies, grifters, financial advisers, talent agents, shady attorneys, hookers, models, and crooked cops of Leonard's world may be nefarious, but they are generally confident, skilled, and composed, and they cope without effort or thought. In Being Cool, Charles Rzepka draws on more than twelve hours of personal interviews with Leonard and applies what he learned to his close analysis of Leonard's long life and prodigious output: 45 published novels, 39 published and unpublished short stories, and numerous essays written over the course of six decades. Leonard's writing methods and style epitomize how he conceives "being cool." Rzepka delineates the stages and patterns that characterize the author's creative evolution. Like jazz greats, Leonard forged an individual style immediately recognizable for its voice and rhythm, including his characters' rat-a-tat recitations, curt backhands, and ragged trains of thought. Taking being cool as the highway through Leonard's life and works, Rzepka finds plenty of byways to explore along the way.
Television, Gender, and Identity
In 1990 the fledgling Fox television network debuted its prime-time soap opera Beverly Hills, 90210, which was intended to appeal to viewers in their late teens and early twenties. Before long, not only did the network have a genuine hit with a large and devoted audience but the program had evolved into a cultural phenomenon as well, becoming a lens through which its youthful viewers defined much of their own sense of themselves.
By an overwhelming majority the fans were female-young women between eleven and twenty-five whose experience of the program was addictive and intensely communal. They met in small groups to watch the program, discussing its plot and characters against the backdrops of their own ongoing lives.
Wondering what this talk accomplished and what role it played in the construction of young female viewers' identities, Graham McKinley found several groups who watched the program and questioned them about the program's significance. Extracting generously from actual interviews, McKinley's investigation has the urgency of a heart-to-heart conversation, with rich anecdotal moments and revelations of self.
Contemporary Afro-Asian Cultural Production
In Beyond The Chinese Connection, Crystal S. Anderson explores the cultural and political exchanges between African Americans, Asian Americans, and Asians over the last four decades. To do so, Anderson examines such cultural productions as novels (Frank Chin's Gunga Din Highway , Ishmael Reed's Japanese By Spring , and Paul Beatty's The White Boy Shuffle ); films (Rush Hour 2 , Unleashed , and The Matrix trilogy [1999-2003],) and Japanese animation (Samurai Champloo ), all of which feature cross-cultural conversations. In exploring the ways in which writers and artists use this transferral, Anderson traces and tests the limits of how Afro-Asian cultural production interrogates conceptions of race, ethnic identity, politics, and transnational exchange.Ultimately, this book reads contemporary black/Asian cultural fusions through the recurrent themes established by the films of Bruce Lee, which were among the first--and certainly most popular--works to use this exchange explicitly. As a result of such films as Enter the Dragon (1973), The Chinese Connection (1972), and The Big Boss (1971), Lee emerges as both a cross-cultural hero and global cultural icon who resonates with the experiences of African American, Asian American and Asian youth in the 1970s. Lee's films and iconic imagery prefigure themes that reflect cross-cultural negotiations with global culture in post-1990 Afro-Asian cultural production.