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This volume is the first book-length study of the extensive career and prolific works of D.A. Pennebaker, one of the pioneers of direct cinema, a documentary form that emphasizes observation and a straightforward portrayal of events. With a career spanning decades, Pennebaker's many projects have included avant-garde experiments (Daybreak Express), ground-breaking television documentaries (Primary), celebrity films (Dont Look Back), concert films (Monterey Pop), and innovative fusions of documentary and fiction (Maidstone)._x000B__x000B_Exploring the concept of "performing the real," Keith Beattie's insightful analysis interprets the ways in which Pennebaker's presentation of unscripted everyday performances is informed by connections between documentary filmmaking and other experimental movements such as the New American Cinema. Through his collaborations with such various artists as Richard Leacock, Shirley Clarke, Norman Mailer, and Jean-Luc Godard, Pennebaker has continually reworked and redefined the forms of documentary filmmaking. This book also includes a recent interview with the director and a full filmography.
The Harrowing of Hell
A U.S. Army doctor describes the fight to save 32,000 survivors of Dachau. Marcus Smith was the sole medical officer attached to a small displaced person (DP) team that was sent to the Dachau concentration camp the day after it was liberated by Allied troops and several days before the shocking conditions of the camp were publicized throughout the world. Several years after his experience at Dachau, believing that we must never forget what happened, Smith unearthed his notes and the daily letters he wrote to his wife and used them as source materials for Dachau: The Harrowing of Hell. From the perspective of a young physician, Smith describes his experiences, shedding light on the immense difficulties and complexities of the large-scale tasks the small DP team completed, against great odds, to combat epidemic diseases and starvation and repatriate the former prisoners. Smith also describes some of the people the team tried to help—men, women, and children from all walks of life, of many nationalities and religions. Smith tells his moving story objectively, with simplicity and grace. While this book is the story of man’s inhumanity to man, it is more than an account of Nazi persecution. It is about how Smith, whose previous experience had not prepared him for the immense horror of what he encountered at Dachau, quickly became a public health expert; how a small team improvised relief and combated a typhus epidemic; and how the soldiers of different countries had to get along with each other while dealing with the prejudices of some of the displaced people they were trying to help. Dachau contains six drawings by noted European artist Zoran Music, who was arrested by the Gestapo in Venice in 1944 and incarcerated at Dachau. The drawings were given to Smith when he left Dachau.
This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life.
This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the DADA and Surrealist movements as responses to the advent of the cinema.
A Celebrity Preacher and His House of Prayer
Charles Manuel “Sweet Daddy” Grace founded the United House of Prayer for All People in Wareham, Massachusetts, in 1919. This charismatic church has been regarded as one of the most extreme Pentecostal sects in the country. In addition to attention-getting maneuvers such as wearing purple suits with glitzy jewelry, purchasing high profile real estate, and conducting baptisms in city streets with a fire hose, the flamboyant Grace reputedly accepted massive donations from his poverty-stricken followers and used the money to live lavishly. It was assumed by many that Grace was the charismatic glue that held his church together, and that once he was gone the institution would disintegrate. Instead, following his 1960 death there was a period of confusion, restructuring, and streamlining. Today the House of Prayer remains an active church with a national membership in the tens of thousands.
Daddy Grace: A Celebrity Preacher and His House of Prayer seriously examines the religious nature of the House of Prayer, the dimensions of Grace’s leadership strategies, and the connections between his often ostentatious acts and the intentional infrastructure of the House of Prayer. Furthermore, woven through the text are analyses of the race, class, and gender issues manifest in the House of Prayer structure under Grace’s aegis.
Marie W. Dallam here offers both a religious history of the House of Prayer as an institution and an intellectual history of its colorful and enigmatic leader.
A Memoir of Farm and Family
Jo McDougall brings a poet’s sensibility to memoir. Recounting five generations of Delta rice farmers, through family archives and oral histories, she traces how the clan made their way into the fabric of America, beginning with her Belgian-immigrant grandfather, a pioneer rice farmer on the Arkansas Delta at the turn of the twentieth century. As John Grisham has for a 1950s Arkansas cotton farm, McDougall illuminates an Arkansas rice farm in the 1930s and 1940s. The Garot family’s acreage near DeWitt and the town itself provide the stage for McDougall’s wry, compelling, and layered account of the day-to-day of rice growing on the farm that her father inherited. In that setting she discovers a rich “universe of words” in the Great Depression, comes of age during World War II, and finds her way alongside “that whole quirky, compelling cast of characters” that comprised her kin. In this conflicted, ironic, southern-but-universal account of betrayal, heartbreak, loss, and joy, “the vagaries and the grace” of the land join forces with the power of money as family bonds are both forged and dissolved. Deeply felt, unsentimental, and often humorous, Daddy’s Money presents McDougall’s life and the lives of her relatives in the way that all our lives are eventually framed—as stories. “When all else is lost,” the author maintains, “the stories remain.”
Greek American Stories
The Civil Rights Movement in Mennonite Homes and Sanctuaries
The Mennonites, with their long tradition of peaceful protest and commitment to equality, were castigated by the Reverend Martin Luther King Jr. for not showing up on the streets to support the civil rights movement. Daily Demonstrators shows how the civil rights movement played out in Mennonite homes and churches from the 1940s through the 1960s. In the first book to bring together Mennonite religious history and civil rights movement history, Tobin Miller Shearer discusses how the civil rights movement challenged Mennonites to explore whether they, within their own church, were truly as committed to racial tolerance and equality as they might like to believe. Shearer shows the surprising role of children in overcoming the racial stereotypes of white adults. Reflecting the transformation taking place in the nation as a whole, Mennonites had to go through their own civil rights struggle before they came to accept interracial marriages and integrated congregations. Based on oral history interviews, photographs, letters, minutes, diaries, and journals of white and African-American Mennonites, this fascinating book further illuminates the role of race in modern American religion.
In his early studies Flood focused on the history of the brotherhood with special emphasis on the development of the Early Rule. Eventually, the social structures of early Franciscan life led to the economics of the early Franciscan movement and the importance of work in the life of Francis and his companions. Told from the vantage point of a historian, Flood leads the reader through his analysis of the early movement
Civil Rights Crusader from Arkansas
Daisy Bates (1914-1999) is renowned as the mentor of the Little Rock Nine, the first African Americans to attend Central High School in Little Rock, Arkansas. For guiding the Nine through one of the most tumultuous civil rights crises of the 1950s, she was selected as Woman of the Year in Education by the Associated Press in 1957 and was the only woman invited to speak at the Lincoln Memorial ceremony in the March on Washington in 1963. But her importance as a historical figure has been overlooked by scholars of the civil rights movement. Daisy Bates: Civil Rights Crusader from Arkansas chronicles her life and political advocacy before, during, and well after the Central High School crisis. An orphan from the Arkansas mill town of Huttig, she eventually rose to the zenith of civil rights action. In 1952, she was elected president of the NAACP in Arkansas and traveled the country speaking on political issues. During the 1960s, she worked as a field organizer for presidents John F. Kennedy and Lyndon B. Johnson to get out the black vote. Even after a series of strokes, she continued to orchestrate self-help and economic initiatives in Arkansas. Using interviews, archival records, contemporary news-paper accounts, and other materials, author Grif Stockley reconstructs Bates's life and career, revealing her to be a complex, contrary leader of the civil rights movement. Ultimately, Daisy Bates paints a vivid portrait of an ardent, overlooked advocate of social justice. Grif Stockley is a staff attorney of the American Civil Liberties Union of Arkansas. He is the author of several books, including Blood in Their Eyes: The Elaine Race Massacres of 1919, Blind Judgment, Probable Cause, and Expert Testimony. He lives in Little Rock, Arkansas.
LBJ, Barry Goldwater, and the Ad That Changed American Politics
The grainy black-and-white television ad shows a young girl in a flower-filled meadow, holding a daisy and plucking its petals, which she counts one by one. As the camera slowly zooms in on her eye, a man’s solemn countdown replaces hers. At zero the little girl’s eye is engulfed by an atomic mushroom cloud. As the inferno roils in the background, President Lyndon B. Johnson’s voice intones, “These are the stakes—to make a world in which all of God’s children can live, or to go into the dark. We must either love each other, or we must die.” In this thought-provoking and highly readable book, Robert Mann provides a concise, engaging study of the “Daisy Girl” ad, widely acknowledged as the most important and memorable political ad in American history. Commissioned by Johnson’s campaign and aired only once during Johnson’s 1964 presidential contest against Barry Goldwater, it remains an iconic piece of electoral propaganda, intertwining cold war fears of nuclear annihilation with the increasingly savvy world of media and advertising. Mann presents a nuanced view of how Johnson’s campaign successfully cast Barry Goldwater as a radical too dangerous to control the nation’s nuclear arsenal, a depiction that sparked immediate controversy across the United States. Repeatedly analyzed in countless books and articles, the spot purportedly destroyed Goldwater’s presidential campaign. Although that degree of impact on the Goldwater campaign is debatable, what is certain is that the ad ushered in a new era of political advertising using emotional appeals as a routine aspect of campaign strategy.