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Employing innovations in media studies, southern cultural studies,
and approaches to the global South, this collection of essays
examines aspects of the southern imaginary in American cinema and
offers fresh insight into the evolving field of southern film
studies. In their introduction, Deborah Barker and Kathryn McKee
argue that the southern imaginary in film is not contained by the
boundaries of geography and genre; it is not an offshoot or
subgenre of mainstream American film but is integral to the history
and the development of American cinema. Ranging from the silent era
to the present and considering Hollywood movies, documentaries, and
independent films, the contributors incorporate the latest
scholarship in a range of disciplines. The volume is divided into
three sections: "Rereading the South" uses new critical
perspectives to reassess classic Hollywood films; "Viewing the
Civil Rights South" examines changing approaches to viewing race
and class in the post-civil rights era; and "Crossing Borders"
considers the influence of postmodernism, postcolonialism, and
media studies on recent southern films. The contributors to
American Cinema and the Southern Imaginary complicate the
foundational term "southern," in some places stretching the
traditional boundaries of regional identification until they all
but disappear and in others limning a persistent and sometimes
self-conscious performance of place that intensifies its power.
Employing innovations in media studies, southern cultural studies,
and approaches to the global South, this collection of essays
examines aspects of the southern imaginary in American cinema and
offers fresh insight into the evolving field of southern film
studies. In their introduction, Deborah Barker and Kathryn McKee
argue that the southern imaginary in film is not contained by the
boundaries of geography and genre; it is not an offshoot or
subgenre of mainstream American film but is integral to the history
and the development of American cinema. Ranging from the silent era
to the present and considering Hollywood movies, documentaries, and
independent films, the contributors incorporate the latest
scholarship in a range of disciplines. The volume is divided into
three sections: "Rereading the South" uses new critical
perspectives to reassess classic Hollywood films; "Viewing the
Civil Rights South" examines changing approaches to viewing race
and class in the post-civil rights era; and "Crossing Borders"
considers the influence of postmodernism, postcolonialism, and
media studies on recent southern films. The contributors to
"American Cinema and the Southern Imaginary" complicate the
foundational term "southern," in some places stretching the
traditional boundaries of regional identification until they all
but disappear and in others limning a persistent and sometimes
self-conscious performance of place that intensifies its power.
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