Places of Privilege examines dynamics of privilege and power in the construction of place in a period of the rapid social transformation of places, borders and boundaries. Drawing on inter-disciplinary perspectives, the book examines place as a site for the making and re-making of privilege, while considering new meanings of community, and examining spaces for cultural identity and resistance. Chapters point to a range of conceptual resources that can be utilised to produce critical analyses of place-making. As the authors point out, power and privilege shape place but these dynamics are in turn shaped by the specific place based histories and social dynamics within which they are located. Contributors are: Lutfiye Ali, Alison M. Baker, Paola Bilbrough, Tony Birch, Jora Broerse, Sally Clark, Josephine Cornell, Yon Hsu, Lou Iaquinto, Karen Jackson, Shose Kessi, Rebecca Lyons, Chris McConville, Nicole Oke, Amy Quayle, Alexandra Ramirez, Kopano Ratele, Christopher C. Sonn, and Ramon Spaaij.

In this significant scholarly contribution to the study of ethnic minorities, Chalsa Loo documents a distinctive American community--Chinatown, San Francisco. Based on an interview survey of residents of Chinatown, Loo's study tests prevailing psychological and sociological theories, and ultimately dispels stereotypes about Asian Americans, replacing them with empirically derived realities of American life. "Chinatown: Most Time, Hard Time" comprehensively covers a range of significant areas of life, integrating several disciplines and combining the rigor of scientific analysis with the richness of individual experience through the use of photographs and personal vignettes.

This valuable analysis serves as a model of comprehensive, quantitative multidomain interview sample survey research. It provides data on the major domains of life for all Americans, but particularly for ethnic Americans: neighborhood, crowding, health, mental health, employment, language and cultural barriers, quality of life, and differences between men and women. This book is scholarly yet readable, and will be particularly useful to social scientists, educators, researchers, human service professionals, and policy planners.

In this book the late Jeffrey Clark subjects the history of colonialism among the Wiru of Papua New Guinea to a fresh and subtle examination. Colonized and colonizers alike are the focus of an analysis that draws upon theories of culture, temporality, discursive representation, and anthropology in the postcolonial era.

The American Left has produced a rich and varied cultural tradition that was largely suppressed during the Cold War but whose influence on the larger society has always been significant. Much of this tradition found its expression in film and despite the suppression of overtly leftist content in most Hollywood films, there is still a substantial amount of leftist material in American movies. Booker's study gives the attention to the films of the American Left that they have long deserved by examining the full range of their history. Such well known directors as Charlie Chaplin, Orson Welles, William Wellman, Fritz Lang, John Huston, Stanley Kubrick, Oliver Stone, and John Sayles often showed leftist inclinations in their work. Other films associated with the American Left have been produced in a number of modes and subgenres, including war films, historical films, detective films, and science fiction. Some of these directors have offered overt criticisms of capitalism in films dealing with labor and business. This reference book thoroughly explores leftist elements in American films.

The book begins with a brief historical survey of the development of this important cultural phenomenon. It then provides detailed entries for more than 260 films associated with the American Left. The entries are arranged chronologically, so that the reader may trace the cinematic representation of the American Left across time. The entries include not only plot summaries, but also critical examinations of the political content and implications of the films. Included are discussions of such classic works as "Citizen Kane" and "The Grapes of Wrath, " along with considerations of more recent films, such as "Apocalypse Now, Taxi Driver, " and "Men with Guns." Two appendixes and index provide alphabetical access to the entries. The individual entries provide brief bibliographical citations, while the volume closes with a bibliography.

Since 2004, the Baby Doll Mardi Gras tradition in New Orleans has gone from an obscure, almost forgotten practice to a flourishing cultural force. The original Baby Dolls were groups of black women, and some men, in the early Jim Crow era who adopted New Orleans street masking tradition as a unique form of fun and self-expression against a backdrop of racial discrimination. Wearing short dresses, bloomers, bonnets, and garters with money tucked tight, they strutted, sang ribald songs, chanted, and danced on Mardi Gras Day and on St. Joseph feast night. Today's Baby Dolls continue the tradition of one of the first street women's masking and marching groups in the United States. They joyfully and unabashedly defy gender roles, claiming public space and proclaiming through their performance their right to social citizenship. Essayists draw on interviews, theoretical perspectives, archival material, and historical assessments to describe women's cultural performances that take place on the streets of New Orleans. They recount the history and contemporary resurgence of the Baby Dolls while delving into the larger cultural meaning of the phenomenon. Over 140 color photographs and personal narratives of immersive experiences provide passionate testimony of the impact of the Baby Dolls on their audiences. Fifteen artists offer statements regarding their work documenting and inspired by the tradition as it stimulates their imagination to present a practice that revitalizes the spirit.

Recounts the life and career of Croatian filmmaker Rajko Grlic in the form of a lexicon of film terms tied to anecdotes spanning Grlic's life. "I read a lot this year. Old, new, borrowed, blue. This was the best. The paradox of reading something so avidly that you can't put it down and then I got to the last 20 pages slowing down to a snail's pace and reading so slowly so that it wouldn't be over so quickly."-Mike Downey, European Film Academy From his post-Nazi-era childhood in Yugoslavia to his college years during the 1968 invasion of Prague, the Yugoslav dissolution wars, and his subsequent exile in the United States, these personal stories combine to provide insight into socialist film industries, contextualizing south Slavic film while also highlighting its contacts with Western filmmakers and film industry. From the introduction by Aida Vidan: The one hundred and seventy-seven film terms provide sometimes a direct and at other times a metaphoric path to Grlic's stories and concurrently serve as a self-referential mechanism to comment on a series of film attributes. The entries can be read in any order, allowing for the reader's own "montage" of the book's universe.... Grlic adroitly captures the absurdities and paradoxes in one's life resulting from the sort of tectonic shifts with which East European history abounds.

"The First Black President" is a critical and passionate reflection on the political and historical implications of an Obama administration concerning the issue of race in America. Obama's rise to political power has forever changed the contours of race relations in the country as many hail the new age of a "post-racial" society. Yet, an Obama presidency could further complicate real racial progress and could set race relations back in the country for decades to come if not viewed in the proper context. The book demonstrates that the Obama presidency must be celebrated as a historical triumph based on America's racist past, but also the struggle for equality, justice and freedom must also intensify with recognition of its global consequences. The problem of race in America no longer just affects American citizens but impacts cultures around the globe. The book speaks to both optimists and pessimists alike who are struggling to understand how race factors into the domestic and international policy agenda of Obama who now sits in the highest seat of political and global power.

A marvelous book, at once comprehensive and highly readable, a fascinating analysis of doomsday cults and apocalyptic anxiety. --Michael Owen Jones, University of California, Los Angeles The End of the World As We Know It makes accessible to both scholars and general readers the amazing panorama of millenarian scenarios abounding in America at the end of the millennium. --Robert S. Ellwood, University of Southern California Will stand for some time as the best survey and analysis of the meaning and place of apocalypticism and millennialism in American culture. --Religion and Literature Fascinating and] intelligent . . . should be required reading. --Psychotronic From religious tomes to current folk prophesies, recorded history reveals a plethora of narratives predicting or showcasing the end of the world. The incident at Waco, the subway bombing by the Japanese cult Aum Supreme Truth, and the tragedy at Jonestown are just a few examples of such apocalyptic scenarios. And these are not isolated incidents; millions of Americans today believe the end of the world is inevitable, either by a divinely ordained plan, nuclear catastrophe, extraterrestrial invasion, or gradual environmental decay, Examining the doomsday scenarios and apocalyptic predictions of visionaries, televangelists, survivalists, and various other endtimes enthusiasts, as well as popular culture, film, music, fashion, and humor, Daniel Wojcik sheds new light on America's fascination with worldly destruction and transformation. He explores the origins of contemporary apocalyptic beliefs and compares religious and secular apocalyptic speculation, showing us the routes our belief systems have traveled over the centuries to arrive at the dawn of a new millennium. Included in his sweeping examination are premillennial prophecy traditions, prophecies associated with visions of the Virgin Mary, secular ideas about nuclear apocalypse, the transformation of apocalyptic prophecy in the post-Cold War era, and emerging apocalyptic ideas associated with UFOs and extraterrestrials. Timely, yet of lasting importance, The End of the World as We Know It is a comprehensive cultural and historical portrait of an age-old phenomenon and a fascinating guide to contemporary apocalyptic fever. Daniel Wojcik is Associate Professor of English and Folklore at the University of Oregon and author of Punk and Neo-Tribal Body Art. He received his Ph.D. in Folklore and Mythology from the University of California, Los Angeles.

Taking as its focus memorials of the First World War in Britain, this book brings a fresh approach to the study of public symbols by exploring how different motives for commemorating the dead were reconciled through the processes of local politics to create a widely valued form of collective expression. It examines how the memorials were produced, what was said about them, how support for them was mobilized and behaviour around them regulated. These memorials were the sites of contested, multiple and ambiguous meanings, yet out of them a united public observance was created. The author argues that this was possible because the interpretation of them as symbols was part of a creative process in which new meanings for traditional forms of memorial were established and circulated. The memorials not only symbolized emotional responses to the war, but also ambitions for the post-war era. Contemporaries adopted new ways of thinking about largely traditional forms of memorial to fit the uncertain social and political climate of the inter-war years.
This book represents a significant contribution to the study of material culture and memory, as well as to the social and cultural history of modern warfare.

This book explores the aesthetic and ethical ways in which history and daily life are filmically represented and witnessed in Taiwanese director Hou Hsiao-hsien's movies. From the era of the Japanese Occupation to the White Horror and then to the lifting of martial law, the author shows how Hou Hsiao-hsien uses visual media to evoke the rhythms of daily life through the emotional memory of the characters and communities he explores. In particular, the book focuses on the ways in which Hou Hsiao-hsien seeks to reflect the strong dilemmas of identity and the traumatic emotions associated with witnessing history. Taking an interdisciplinary approach, it investigates the concepts of daily life, representation and historical trauma in order to focus on how these films represent history and political trauma through the nature of daily life and personal memories, and the resulting historical responsibility and ethics. This is the first academic monography about Hou Hsiao-hsien's films.

In this groundbreaking collection, Dr. Jenna Ng brings together academics and award-winning artists and machinima makers to explore the fascinating combination of cinema, animation and games in machinima (the use of computer game engines to produce animated films in cost- and time-efficient ways). Book-ended by a preface by Henry Lowood (curator for history of science and technology collections at Stanford University) and an interview with Isabelle Arvers (machinima artist, trainer, critic, and curator), the collection features wide-ranging discussions addressing machinima not only from diverse theoretical perspectives, but also in its many dimensions as game art, First Nations media art, documentary, and pedagogical tool. Making use of interactive multimedia to enhance the text, each chapter features a QR code which leads to a mobile website cross-referencing with its print text, integrating digital and print content while also taking into account the portability of digital devices in resonance with machinima's mobile digital forms. Exploring the many dimensions of machinima production and reception, Understanding Machinima extends machinima's critical scholarship and debate, underscoring the exciting potential of this emerging media form.

The Vietnam War was one of the most painful and divisive events in American history. The conflict, which ultimately took the lives of 58,000 Americans and more than three million Vietnamese, became a subject of bitter and impassioned debate. The most dramatic--and frequently the most enduring--efforts to define and articulate America's ill-fated involvement in Vietnam emerged from popular culture. American journalists, novelists, playwrights, poets, songwriters, and filmmakers--many of them eyewitnesses--have created powerful, heartfelt works documenting their thoughts and beliefs about the war. By examining those works, this book provides readers with a fascinating resource that explores America's ongoing struggle to assess the war and its legacies.

This encyclopedia includes 44 essays, each providing detailed information on an important film, song, or literary work about Vietnam. Each essay provides insights into the Vietnam-era experiences and views of the work's primary creative force, historical background on issues or events addressed in the work, discussion of the circumstances surrounding the creation of the work, and sources for further information. This book also includes an appendix listing of more than 275 films, songs, and literary works dealing with the war.

This volume introduces a new concept that boldly breaks through the traditional dichotomy of high and low culture while offering a fresh approach to both: unpopular culture. From the works of David Foster Wallace and Ernest Hemingway to fanfiction and The Simpsons, from natural disasters to 9/11 and beyond, the essays find the unpopular across media and genres, analysing the politics and aesthetics of a side to culture that has been overlooked by previous theories and methods in cultural studies.

Feminist Discourse and Spanish Cinema provides the first detailed consideration of women directors working before the Civil War and during Franco's dictatorship, and is the first to explore the impact of feminism on filmmaking in Spain.

From The Wild Ones to Easy Rider, the motorcycle has inflamed the imaginations of the media and the general public alike. Marlon Brando, sporting leather jacket, jeans, and moody glare, became a cultural icon summing up 'the road' in all its maverick glory. But does the myth of the renegade cyclist, an outcast from mainstream society who takes to the road in pursuit of freedom, correlate with reality in any meaningful way? Who really rides motorcycles and why? What are the chief concerns of motorcyclists and how are these represented and contested in the political sphere? This book, based on extensive fieldwork amongst bikers and the bikers' rights movement, overturns the ingrained prejudice that equates bikers with deviancy and explodes the myths emphasizing the rebellious and dysfuntional aspects of biking. Instead, the author focuses on what biking means to those involved - the rewards, the risks, the addictiveness, but also the stigma and attacks on the biking lifestyle. In response to the negative imagery surrounding bikers and growing legislative threats from Europe, bikers' rights associations evolved between the 1960s and 1980s in the UK and Europe. The author discusses the aims and achievements of these lobbies, and the future of motorcycling more generally as it becomes fashionable as a middle-aged, middle-class pursuit.

How did the American western feature film genre rebrand itself in the late seventies and respond to the fury of global and domestic political affairs? In Hold It Real Still, Lawrence Jackson examines Clint Eastwood's influence on the western film while also exploring how that genre continues to operate into the twenty-first century as an ideological channel for ideas about race and imperialism. Jackson argues that the western genre pivoted from an initial doctrine of racial liberalism, albeit a clumsy one, during the John Wayne years to a motile agenda of substitution, exclusion, and false equivalency during the Clint Eastwood period. The book traces how Eastwood, an actor first associated with the avant-garde, anti-colonialist discourse of "spaghetti" western cinema, reversed himself in the second half of the 1970s with The Outlaw Josey Wales-a film that had at its heart the fantasy of Black erasure from American life. Jackson situates Eastwood's work as a response to massive social and political upheavals in America: defeat in Vietnam, riots in northern cities, the civil rights movement and associated legislation, and the Great Migration, which made possible a degree of mixed-race public interaction that was impossible even as late as the 1960s. Hinged by a close reading of four blockbuster films which continue to shape discourses in cinematic arts, American liberalism, the westerns, and race relations today-The Good, the Bad and the Ugly, Josey Wales, Ride with the Devil, and Django Unchained-Jackson's unique critique flashes on the contradictory symbolic structures at work in these masterpieces. Juxtaposing the films' motifs, tropes, and hidden Black figures with historicist readings lays bare the containment strategies of the 1970s and beyond used to stymie civil rights progress and racial equity in the United States. Tackling the rise of neoracism and the domestic apparatus of surveillance, control, and erasure, Hold It Real Still offers an astonishing revision of what audiences and critics thought they understood about a uniquely American genre of film.

Social democrats in the Western world look back on a century where growth and expansion of centre-left values seemed, during certain periods of time, to be a law of nature. Today, the so-called golden era from the 1940s to the 1970s is just a distant memory for the social democratic movement. Volume 35 of Comparative Social Research challenges this narrative of the post-war glory of social democracy. It argues that social democracy has been associated too tightly with the specific context of post-1945 and explores the margin for manoeuvre for the social democratic movement, both now and in the future. Contributors to this book explore essential questions for contemporary social democrats, such as; What does social democracy constitute as a set of ideas in the 21st century experiencing rapid technological, economic and demographic change? Is the narrative of the decline of social democracy warranted, and is there an opportunity for transformation or even rejuvenation? Social Democracy in the 21st Century is an essential reading for academics and researchers of political science and sociology.

Widely read and translated, Garcilaso is a key figure for understanding the development of mestizo culture in Latin America and his works have sparked many heated debates. This new collection of articles advances that discussion through contributions by twelve distinguished scholars who review central aspects of Garcilaso's life and work from the perspectives of history, linguistics, literary theory, and anthropology. These essays explore the complex intertextual threads which weave through Garcilaso's principal writings. Some examine the relationship of his work with the canon of European historiography, while others stress its link with Andean culture; still others focus on the puzzles presented by his use of self-representation. Many of the articles offer fresh readings of Garcilaso's Royal Commentaries and include not only textual analyses of key themes but also a reassessment of Inca political organization. Other contributions address his Florida of the Inca, focusing on such aspects as its discourse and dating. Together, all the essays demonstrate that Garcilaso scholarship continues to be receptive to new critical approaches.

Talking Politics presents the opinions of some of America's leading broadcasters and political commentators on the tension-fraught relationship between politics and the media. In a series of personal, frank, and in-depth interviews, Tom Brokaw, Larry King, Robert MacNeil, Linda Ellerbee, Bernard Shaw, and others talk about the extraordinarily influential, sometimes volatile, relationship between journalists and political figures. Providing a window onto political campaigns and governance, political analysts, journalists, and media figures address issues such as: * When does a tabloid story become news, worthy of the attention of the serious media * Can a talk show really give us a closer look at a candidate or is that closeness an illusion? * When can voters trust candidate images presented on TV-network news, talk shows, or otherwise? In an age when the media has become as much a topic as the politicians it covers. Talking Politics will be fascinating reading for all who follow politics. Talking Politics gives us an inside view of the relationship between journalists and candidates, one that shapes the way most Americans choose their president. In a series of personal and in-depth interviews, some of America's top broadcasters and political commentators talk about the extraordinarily influential relationship between the nation's most powerful journalists and political figures. Tom Brokaw, Larry King, Robert MacNeil, Linda Ellerbee, Bernard Shaw, and other media figures address issues such as: o When does a tabloid story become worthy of the attention of the serious media? o Can a talk show really give us a closer look at a candidate or is that closeness an illusion? o When can voters trust candidate images presented on television-network news, talk shows, or otherwise? Each chapter in Talking Politics features a frank, revealing interview with one of the nation's most influential broadcasters or political commentators. The result is a unique, behind-the-scenes look at the tension-fraught relationship between TV news and political candidates. In an age when the media has become as much a topic as the politicians it covers, Talking Politics will be fascinating reading for all who follow politics.

This interdisciplinary book responds to the explosion of gay and lesbian creativity on modern-day France. Rather than attempting to formalize a specifically 'gay' or 'lesbian' style or identity, the authors seek to open up new 'homotextualities, ' understood here as ongoing constructions and deconstructions of both homosexuality and its environments. They investigate the work of (among others) Violette Leduc, Tony Duvert, Renaud Camus, and Guy Hocquenghem; the cinema of Josiane Balasko and Cyril Collard; the theoretical writings of Leo Bersani, Luce Irigaray, and Monique Wittig. Employing a range of methods, authors re-evaluate and contest both the literary and theoretical canon and establish new convergences between French and Gay Studies, in particular, queer theory. This book provides the first proper assessment of the usefulness of this approach when dealing with a literary and cultural tradition notoriously discreet about the very concept of a gay writer.

This richly illustrated volume explores the eroticization of death in the literature, art, and music of the nineteenth century, and in the popular culture of our time.

Death was the natural enemy of love in the arts of the West until the late eighteenth century, when the two mated in artistic fancy to celebrate death as a font of sensual bliss. Through the nineteenth century, voluptuous visions of death pervaded high culture. Keats fell half in love with easeful death, and, as Heine told it, Life only warms in death's cold arms. For Whitman, death was the word of the sweetest song. Flaubert tempted his Saint Anthony with Lust and Death fused into a single figure. Zola saw love and death intermixed in the somber pit of the human soul. At mid- century, painters and poets alike competed in depicting Ophelia drowning in ecstasy. At the century's end the figure of the femme fatale haunted the cultural elite. After 1914, the entire morbid complex sank into popular culture.

What was the source of this eroticization of death in the arts? To answer this question, Rudolph Binion explores a rich variety of prose and poetry, painting and sculpture, and lyrical and instrumental music, interlacing love and death. He compares modern and premodern treatments of key subjects such as Salome and Mary Magdalene, supporting his text with an array of arresting illustrations. In conclusion, he traces this fantasy of carnal love beyond death to the Christian message of spiritual love beyond death, which modern, post- Christian culture has both discarded and salvaged.

In "Love Beyond Death: The Anatomy of a Myth in the Arts," Rudolph Binion investigates the various art forms where the conjunction of love and death is found and provides an explanation for this bizarre match. Supporting his text with some of the most sinister, alluring, and provocative images from the nineteenth century, Binion provides the reader with a dizzying account of the development of this artistic obsession, and of its passage into the popular culture of the twentieth century.

Biological Time, Historical Time presents a new approach to 19th century thought and literature: by focussing on the subject of time, it offers a new perspective on the exchanges between French and German literary texts on the one hand and scientific disciplines on the other. Hence, the rivalling influences of the historical sciences and of the life sciences on literary texts are explored, texts from various scientific domains - medicine, natural history, biology, history, and multiple forms of vulgarisation - are investigated. Literary texts are analysed in their participation in and transformation of the scientific imagination. Special attention is accorded to the temporal dimension: this allows for an innovative account of key concepts of 19th century culture.