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Since the earliest days of the nation, US citizenship has been
linked to military service. Even though blacks fought and died in
all American wars, their own freedom was usually restricted or
denied. In many ways, World War II exposed this contradiction. As
demand for manpower grew during the war, government officials and
military leaders realized that the war could not be won without
black support. To generate African American enthusiasm, the federal
government turned to mass media. Several government films were
produced and distributed, movies that have remained largely
unexamined by scholars. Kathleen M. German delves into the dilemma
of race and the federal government's attempts to appeal to black
patriotism and pride even while postponing demands for equality and
integration until victory was achieved. German's study intersects
three disciplines: the history of the African American experience
in World War II, the theory of documentary film, and the study of
rhetoric. One of the main films of the war era, The Negro Soldier,
fractured the long tradition of degrading minstrel caricatures by
presenting a more dignified public image of African Americans.
Along with other government films, the narrative within The Negro
Soldier transformed the black volunteer into an able soldier. It
included African Americans in the national mythology by retelling
American history to recognize black participation. As German
reveals, through this new narrative with more dignified images, The
Negro Soldier and other films performed rhetorical work by
advancing the agenda of black citizenship.
As communicative, cultural, and political spaces, cities present a
vast array of racial, ethnic, national, sexual, and socioeconomic
experiences around which human communities take shape. This shaping
forms a germinal point of mass cultural life. City planners decide
where buildings and neighborhoods are developed, which ultimately
affects who residents interact with, how they get there, and why
they choose city life. From these experiences, boundaries and
possibilities arise that define cultures of "the city." In
Communication, Culture, and Making Meaning in the City:
Ethnographic Engagements in Urban Environments, contributors focus
on theorizing the notion of "the city" as a communicatively
constituted cultural space, drawing on situated, reflexive
ethnographic examinations of "the city" to show the complex and
varied ways in which cities produce social meaning.
Since the earliest days of the nation, US citizenship has been
linked to military service. Even though blacks fought and died in
all American wars, their own freedom was usually restricted or
denied. In many ways, World War II exposed this contradiction. As
demand for manpower grew during the war, government officialsand
military leaders realized that the war could not be won without
black support. To generate African American enthusiasm, the federal
government turned to mass media. Several government films were
produced and distributed, movies that have remained largely
unexamined by scholars. Kathleen M. German delves into the dilemma
of race and the federal government's attempts to appeal to black
patriotism and pride even while postponing demands for equality and
integration until victory was achieved. German's study intersects
three disciplines: the history of the African American experience
in World War II, the theory of documentary film, and the study of
rhetoric. One of the main films of the war era, The Negro Soldier,
fractured the long tradition of degrading minstrel caricatures by
presenting a more dignifiedpublic image of African Americans. Along
with other government films, the narrative within The Negro Soldier
transformed the black volunteer into an able soldier. It included
African Americans in the national mythology by retelling American
history to recognize black participation. As German reveals,
through this new narrative with more dignified images, The Negro
Soldier and other films performed rhetorical work by advancing the
agenda of black citizenship.
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