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Whether presented as exotic fantasy, a strategic location during
World War II, or a site combining postwar leisure with military
culture, Hawaii and the South Pacific figure prominently in the
U.S. national imagination. Hollywood's Hawaii is the first
full-length study of the film industry's intense engagement with
the Pacific region from 1898 to the present. Delia Malia Caparoso
Konzett highlights films that mirror the cultural and political
climate of the country over more than a century-from the era of
U.S. imperialism on through Jim Crow racial segregation, the attack
on Pearl Harbor and WWII, the civil rights movement, the
contemporary articulation of consumer and leisure culture, as well
as the buildup of the modern military industrial complex. Focusing
on important cultural questions pertaining to race, nationhood, and
war, Konzett offers a unique view of Hollywood film history
produced about the national periphery for mainland U.S. audiences.
Hollywood's Hawaii presents a history of cinema that examines
Hawaii and the Pacific and its representations in film in the
context of colonialism, war, Orientalism, occupation, military
buildup, and entertainment.
Hollywood at the Intersection of Race and Identity explores the
ways Hollywood represents race, gender, class, and nationality at
the intersection of aesthetics and ideology and its productive
tensions. This collection of essays asks to what degree can a close
critical analysis of films, that is, reading them against their own
ideological grain, reveal contradictions and tensions in
Hollywood's task of erecting normative cultural standards? How do
some films perhaps knowingly undermine their inherent ideology by
opening a field of conflicting and competing intersecting
identities? The challenge set out in this volume is to revisit
well-known films in search for a narrative not exclusively
constituted by the Hollywood formula and to answer the questions:
What lies beyond the frame? What elements contradict a film's
sustained illusion of a normative world? Where do films betray
their own ideology and most importantly what intersectional spaces
of identity do they reveal or conceal?
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