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American Film at the Turn of the Millennium
In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard’s notion of dread—that is, a fundamental anxiety and ambivalence about existential choice and the future—Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film’s particular “monster,” whether human, demonic, or eschatological.
The Last of the Welcome Immigrants
Born of a Palestinian father and British mother, Bill Rezak has always been intrigued by the different worlds his parents came from. His father’s ancestors were highwaymen on the Arabian Peninsula in the eighteenth century. They sparred unsuccessfully with ruling Ottoman Turks and escaped with their family to America. His mother’s parents were sent to Canada from Great Britain into indentured servitude as children separately and alone at the ages of 10 and 16. They worked off their servitude, met, married and moved to New York State. In The Arab and the Brit, a memoir that spans multiple generations and countries, Rezak traces the remarkable lives of his ancestors. Narrating their experiences against the backdrop of two World Wars and an emerging modern Middle East, the author gives readers a textured and vivid immigrant story. Rezak recalls his paternal grandmother apprehending would-be Russian saboteurs during World War One, his grandfather’s time at Dr. Bernardo’s home, a shelter for destitute children, and his father’s work with the United Nations Relief and Rehabilitation Association following the war. Told with humor and captivating detail, The Arab and the Brit, chronicles the trials and triumphs of one family’s struggle to succeed in the New World.
Vol. 1 (1997) through current issue
Since 1997, the Arizona Journal of Hispanic Cultural Studies has been publishing insightful essays on the relationships between economics and politics as they come to bear on the cultures of Spain, Latin America, Africa, Asia and the Chicano and Latino United States. Past special issues have included titles such as Market Matters: Literary Culture and the Publishing Industry in Spain and Latin America; The Hispanic Atlantic; Equatorial Guinea and Spanish Letters; Barcelona and the Projection of Catalonia; On the Border.
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.
Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form.
As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.
Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions--their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan.
The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.
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.
ABC’s action-comedy series Batman (1966–68) famously offered a dual address in its wildly popular portayal of a comic book hero in a live action format. Children uncritically accepted the show’s plots and characters, who were guided by lofty ideals and social values, while adults reacted to the clear parody of the values on display. In Batman, author Matt Yockey argues that the series served as a safe space for viewers to engage with changing attitudes about consumerism, politics, the Vietnam war, celebrity, race, and gender during a period when social meaning was increasingly contested in America. Yockey examines Batman’s boundary pushing in four chapters. In “Bat-Civics,” he analyzes the superhero as a conflicted symbol of American identity and considers the ways in which the Batman character parodied that status. Yockey then looks at the show’s experimentation with the superhero genre’s conservative gender and racial politics in “Bat-Difference” and investigates the significance of the show’s choices of stars and guest stars in “Bat-Casting.” Finally, he considers how the series’ dual identity as straightforward crime serial and subversive mass culture text set it up for extratextual production in “Bat-Being.” The superhero is a conflicted symbol of American identity—representing both excessive individualism and the status quo—making it an especially useful figure for the kind of cultural work that Batman undertook. Batman fans, from popular culture enthusiasts to television history scholars, will enjoy this volume.