This collection of essays presents a sampling of film and television texts, interrogating images of U.S. masculinity. Rather than using "postfeminist" as a definition of contemporary feminism, this collection uses the term to designate the period from the late 1980s on-as a point when feminist thought gradually became more mainstream. The movies and TV series examined here have achieved a level of sustained attention, from critical acclaim, to mass appeal, to cult status. Instead of beginning with a set hypothesis on the effect of the feminist movement on images of masculinity on film and television, these chapters represent a range of responses, that demonstrate how the conversations within these texts about American masculinity are often open-ended, allowing both male characters and male viewers a wider range of options. Defining the relationship between U.S. masculinity and American feminist movements of the twentieth century is a complex undertaking. The essays collected for this volume engage prominent film and television texts that directly interrogate images of U.S. masculinity that have appeared since second-wave feminism. The contributors have chosen textual examples whose protagonists actively struggle with the conflicting messages about masculinity. These protagonists are more often works-in-progress, acknowledging the limits of their negotiations and self-actualization. These chapters also cover a wide range of genres and decades: from action and fantasy to dramas and romantic comedy, from the late 1970s to today. Taken together, the chapters of Screening Images of American Masculinity in the Age of Postfeminism interrogate "the possible" screened in popular movies and television series, confronting the multiple and competing visions of masculinity not after or beyond feminism but, rather, in its very wake.

This book examines the ways in which Cuba's revolutions of 1933 and 1959 became touchstones for border-crossing endeavors of radical politics and cultural experimentation over the mid-twentieth century. It argues that new networks of solidarity building between US and Cuban allies also brought with them perils and pitfalls that could not be separated from the longer history of US empire in Cuba. As US and Cuban subjects struggled together towards common aspirations of racial and gender equality, fairer distribution of wealth, and anti-imperialism, they created a unique index of cultural work that widens our understanding of the transition between hemispheric modernism and postmodernism. Canvassing poetry, music, journalism, photographs, and other cultural expressions around themes of revolution, this book seeks new understanding of how race, gender, and nationhood could shift in meaning and materialization when traveling across the Florida Straits.

This collection of essays presents a sampling of film and television texts, interrogating images of U.S. masculinity. Rather than using "postfeminist" as a definition of contemporary feminism, this collection uses the term to designate the period from the late 1980s on-as a point when feminist thought gradually became more mainstream. The movies and TV series examined here have achieved a level of sustained attention, from critical acclaim, to mass appeal, to cult status. Instead of beginning with a set hypothesis on the effect of the feminist movement on images of masculinity on film and television, these chapters represent a range of responses, that demonstrate how the conversations within these texts about American masculinity are often open-ended, allowing both male characters and male viewers a wider range of options. Defining the relationship between U.S. masculinity and American feminist movements of the twentieth century is a complex undertaking. The essays collected for this volume engage prominent film and television texts that directly interrogate images of U.S. masculinity that have appeared since second-wave feminism. The contributors have chosen textual examples whose protagonists actively struggle with the conflicting messages about masculinity. These protagonists are more often works-in-progress, acknowledging the limits of their negotiations and self-actualization. These chapters also cover a wide range of genres and decades: from action and fantasy to dramas and romantic comedy, from the late 1970s to today. Taken together, the chapters of Screening Images of American Masculinity in the Age of Postfeminism interrogate "the possible" screened in popular movies and television series, confronting the multiple and competing visions of masculinity not after or beyond feminism but, rather, in its very wake.

This book examines the ways in which Cuba's revolutions of 1933 and 1959 became touchstones for border-crossing endeavors of radical politics and cultural experimentation over the mid-twentieth century. It argues that new networks of solidarity building between US and Cuban allies also brought with them perils and pitfalls that could not be separated from the longer history of US empire in Cuba. As US and Cuban subjects struggled together towards common aspirations of racial and gender equality, fairer distribution of wealth, and anti-imperialism, they created a unique index of cultural work that widens our understanding of the transition between hemispheric modernism and postmodernism. Canvassing poetry, music, journalism, photographs, and other cultural expressions around themes of revolution, this book seeks new understanding of how race, gender, and nationhood could shift in meaning and materialization when traveling across the Florida Straits.

At the outset the proposal seemed modest: transfer two hundred unaccompanied Cuban children to Miami to save them from communism. The time apart from their parents would be short, only until Fidel Castro fell from power by the result of U.S. force, Cuban counterrevolutionary tactics, or a combination of both. Families would be reunited in a matter of months. A plan was hatched, and it worked - until it ballooned into something so unwieldy that within two years the modest proposal erupted into what at the time was the largest migration of unaccompanied minors to the United States. Operation Pedro Pan explores the undertaking sponsored by the Miami Catholic Diocese, federal and state offices, child welfare agencies, and anti-Castro Cubans to bring more than 14,000 unaccompanied children to the United States during the Cold War. Operation Pedro Pan was the colloquial name for the Unaccompanied Cuban Children's Program, which began under government largesse in February 1961. Children without immediate family support in the United States - some 8,300 minors - received group and foster care through the Catholic Welfare Bureau and other religious, governmental, and nongovernmental organizations as young people were dispersed throughout the country. Using personal interviews and newly unearthed information, Operation Pedro Pan provides a deeper understanding of how and why the program was devised. John A. Gronbeck-Tedesco demonstrates how the seemingly mundane conditions of everyday life can suddenly uproot civilians from their routines of work, church, and school and thrust them into historical prominence. The stories told by Pedro Pans are filled with horror and resilience and contribute to a refugee memory that still shapes Cuban American politics and identity today.