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The Second Amendment, by far the most controversial amendment to
the US Constitution, will soon celebrate its 225th anniversary.
Yet, despite the amount of ink spilled over this controversy, the
debate continues on into the 21st century. Initially written with a
view towards protecting the nascent nation from more powerful
enemies and preventing the tyranny experienced during the final
years of British rule, the Second Amendment has since become
central to discussions about the balance between security and
freedom. It features in election contests and informs cultural
discussions about race and gender. This book seeks to broaden the
discussion. It situates discussion about gun controls within
contemporary debates about citizenship, culture, philosophy and
foreign policy as well as in the more familiar terrain of politics
and history. It features experts on the Constitution as well as
chapters discussing the symbolic importance of Annie Oakley, the
role of firearms in race, and filmic representations of armed
Hispanic girl gangs. It asks about the morality of gun controls and
of not imposing them. The collection presents a balanced view
between those who favour more gun controls and those who would
prefer fewer of them. It is infused with the belief that through
honest and open debate the often bitter cultural divide on the
Second Amendment can be overcome and real progress made. It
contains a diverse range of perspectives including, uniquely, a
European perspective on this most American of issues.
The Second Amendment, by far the most controversial amendment to
the US Constitution, will soon celebrate its 225th anniversary.
Yet, despite the amount of ink spilled over this controversy, the
debate continues on into the 21st century. Initially written with a
view towards protecting the nascent nation from more powerful
enemies and preventing the tyranny experienced during the final
years of British rule, the Second Amendment has since become
central to discussions about the balance between security and
freedom. It features in election contests and informs cultural
discussions about race and gender. This book seeks to broaden the
discussion. It situates discussion about gun controls within
contemporary debates about citizenship, culture, philosophy and
foreign policy as well as in the more familiar terrain of politics
and history. It features experts on the Constitution as well as
chapters discussing the symbolic importance of Annie Oakley, the
role of firearms in race, and filmic representations of armed
Hispanic girl gangs. It asks about the morality of gun controls and
of not imposing them. The collection presents a balanced view
between those who favour more gun controls and those who would
prefer fewer of them. It is infused with the belief that through
honest and open debate the often bitter cultural divide on the
Second Amendment can be overcome and real progress made. It
contains a diverse range of perspectives including, uniquely, a
European perspective on this most American of issues.
Silicon Valley corporations now dominate our daily lives to the
extent that many of us now question their ability to determine the
direction of human life in the twenty-first century. The 2010s saw
Hollywood filmmakers engaging in this very debate. Through a
sequence of films ranging from biopics of key Silicon Valley
leaders to science fiction action films and whimsical workplace
comedies, Hollywood films probed Silicon Valley's impact on our
past, present, and future. Silicon Valley Cinema analyses these
films, arguing that they seek to encourage scepticism about our
Silicon Valley overlords and have us step back from our immersion
in Silicon Valley's world. Doing so, they suggest, might make our
working lives more pleasurable, our world a better place, and might
even help us avoid a war with genetically enhanced apes or avert a
robot-led apocalypse.
The Shadow of Selma evaluates the 1965 civil rights campaign in
Selma, Alabama, the historical memory of the campaign's marches,
and the continuing relevance of and challenges to the Voting Rights
Act. The contributors present Selma not just as a keystone event
but, much like Ferguson today, as a transformative place: a
supposedly unimportant location that became the focal point of
epochal historical events. By shifting the focus from leaders like
Martin Luther King Jr. to the thousands of unheralded people who
crossed the Edmund Pettus Bridge-and the networks that undergirded
and opposed them-this innovative volume considers the campaign's
long-term impact and its place in history. The volume recalls the
historical currents that surrounded Selma, discussing grassroots
activism, the role of President Lyndon B. Johnson during the
struggle for the Voting Rights Act, and the political reaction to
Selma at home and abroad. Using Ava DuVernay's 2014 Hollywood film
as a stepping stone, the editors bring together various essays that
address the ways media-from television and newspaper coverage to
"race beat" journalism-represented and reconfigured Selma. The
contributors underline the power of misrepresentation in shaping
popular memory and in fueling a redemptive narrative that glosses
over ongoing racial problems. Finally, the volume traces the
fifty-year legacy of the Voting Rights Act. It reveals the many
subtle and overt methods by which opponents of racial equality
attempted to undo the act's provisions, with a particular focus on
the 2013 Shelby County v. Holder decision that eliminated sections
of the act designed to prevent discrimination. Taken together, the
essays urge readers not to be blind to forms of discrimination and
injustice that continue to shape inequalities in the United States.
They remind us that while today's obstacles to racial equality may
look different from a literacy test or a grimfaced Alabama state
trooper, they are no less real. Contributors: Alma Jean Billingslea
Brown | Ben Houston | Peter Ling | Mark McLay | Tony Badger | Clive
Webb | Aniko Bodroghkozy | Mark Walmsley | George Lewis | Megan
Hunt | Devin Fergus | Barbara Harris Combs | Lynn Mie Itagaki
Clint Eastwood's Dirty Harry became the prototype for a new kind of
movie cop-an antihero in pursuit of his own vision of justice. The
Dirty Harry series helped cement Eastwood and his character, Harry
Callahan, as central figures in 1970s and 1980s Hollywood cinema.
In Dirty Harry's America, Joe Street argues that the movies shed
critical light on the culture and politics of the post-1960s era
and locates San Francisco as the symbolic cultural battleground of
the time. Across the entire series, conservative anger and moral
outrage confront elitist liberalism and moral relativism. Paying
particular attention the films' representation of crime, family and
community, sexuality, and race, Street maintains that through
referencing real events and political struggles, the films
themselves became active participants in the culture wars.
Unapologetic carrier of right and might, Harry Callahan becomes
America's Ur-conservative: "unbending, moral, incorruptible, and
most important, always right." Long after the series, Callahan's
legacy remains strong in American political discourse, cinema, and
pop culture, and he continues to shape Eastwood's later political
and cinematic career.
The Shadow of Selma provides a comprehensive assessment of the 1965
civil rights campaign, the historical memory of the marches, and
the continuing relevance of and challenges to the Voting Rights
Act. The essays consider Selma not just as a keystone event but,
much like Ferguson today, a transformative place: a supposedly
unimportant location that became the focal point of epochal
historical events. Contributors to this innovative volume examine
the relationship between the memorable figures of the
campaign?Martin Luther King Jr. and John Lewis, among others?and
the thousands of other unheralded people who also crossed the
Edmund Pettus Bridge on their way from Selma to Montgomery. They
analyze networks that undergirded as well as opposed the movement,
placing it in broader historical, political, and international
contexts. Addressing the influential role of media representations
from contemporary newspaper and television coverage to the 2014
Hollywood film by Ava DuVernay, several of the essays challenge the
redemptive narrative that has shaped popular memory, one that
glosses over ongoing racial problems. Finally, the volume explores
the fifty-year legacy of the Voting Rights Act, with particular
focus on Shelby County vs. Holder, which in 2013 seemed to suggest
that the Act had solved the disfranchisement problems of the civil
rights era and was outdated. Taken together, the essays argue that
while today the obstacles to racial equality may look different
than a literacy test or a grim-faced Alabama State Trooper, they
are no less real.
From Aretha Franklin and James Baldwin to Dick Gregory and Martin
Luther King, the civil rights movement deliberately used music,
art, theater, and literature as political weapons to broaden the
struggle and legitimize its appeal. Joe Street places these
cultural forms at the center of the civil rights struggle, arguing
that the time has come to recognize the extent to which African
American history and culture were vital elements of the movement,
calculated to broaden the movement's appeal within the larger black
community. He places considerable emphasis on Amiri Baraka's
interpretation of the importance of music and art to the
development of black nationalist thought in the 1960s, especially
as expressed in his jazz criticism and plays. Drawing upon a wide
variety of sources, from the Free Southern Theater to freedom
songs, from the Cuban radio broadcasts of Robert F. Williams to the
art of the Black Panther Party, Street encourages us to consider
the breadth of forces brought to bear as weapons in the struggle
for civil rights. Doing so also allows us to reconsider the roots
of Black Power, recognizing that it emerged both from within and as
a critique of the southern integrationist movement.
Clint Eastwood's Dirty Harry became the prototype for a new kind of
movie cop-an antihero in pursuit of his own vision of justice. The
Dirty Harry series helped cement Eastwood and his character, Harry
Callahan, as central figures in 1970s and 1980s Hollywood cinema.
In Dirty Harry's America, Joe Street argues that the series sheds
critical light on the culture and politics of the post-1960s era
and locates San Francisco as the symbolic cultural battleground of
the time. Street maintains that through referencing real events and
political struggles, the films themselves became active
participants in the culture wars, paying particular attention to
the films' representation of crime, family and community,
sexuality, and race. Unapologetic carrier of right and might, Harry
Callahan becomes America's Ur-conservative: "unbending, moral,
incorruptible, and most important, always right." Long after the
series, Callahan's legacy remains strong in American political
discourse, cinema, and pop culture, and he continues to shape
Eastwood's later political and cinematic career.
From Aretha Franklin and James Baldwin to Dick Gregory and Martin
Luther King, the civil rights movement deliberately used music,
art, theater, and literature as political weapons to broaden the
struggle and legitimize its appeal. Joe Street places these
cultural forms at the center of the civil rights struggle, arguing
that the time has come to recognize the extent to which African
American history and culture were vital elements of the movement,
calculated to broaden the movement's appeal within the larger black
community. He places considerable emphasis on Amiri Baraka's
interpretation of the importance of music and art to the
development of black nationalist thought in the 1960s, especially
as expressed in his jazz criticism and plays. Drawing upon a wide
variety of sources, from the Free Southern Theater to freedom
songs, from the Cuban radio broadcasts of Robert F. Williams to the
art of the Black Panther Party, Street encourages us to consider
the breadth of forces brought to bear as weapons in the struggle
for civil rights. Doing so also allows us to reconsider the roots
of Black Power, recognizing that it emerged both from within and as
a critique of the southern integrationist movement.
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