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The Great Recession in Fiction, Film, and Television:
Twenty-First-Century Bust Culture sheds light on how imaginary
works of fiction, film, and television reflect, refract, and
respond to the recessionary times specific to the twenty-first
century, a sustained period of economic crisis that has earned the
title the "Great Recession." This collection takes as its focus
"Bust Culture," a concept that refers to post-crash popular
culture, specifically the kind mass produced by multinational
corporations in the age of media conglomeration, which is inflected
by diminishment, influenced by scarcity, and infused with anxiety.
The multidisciplinary contributors collected here examine mass
culture not typically included in discussions of the financial
meltdown, from disaster films to reality TV hoarders, the horror
genre to reactionary representations of women, Christian right
radio to Batman, television characters of color to graphic novels
and literary fiction. The collected essays treat our busted culture
as a seismograph that registers the traumas of collapse, and locate
their pop artifacts along a spectrum of ideological fantasies,
social erasures, and profound fears inspired by the Great
Recession. What they discover from these unlikely indicators of the
recession is a mix of regressive, progressive, and bemused texts in
need of critical translation.
The Great Recession in Fiction, Film, and Television:
Twenty-First-Century Bust Culture sheds light on how imaginary
works of fiction, film, and television reflect, refract, and
respond to the recessionary times specific to the twenty-first
century, a sustained period of economic crisis that has earned the
title the "Great Recession." This collection takes as its focus
"Bust Culture," a concept that refers to post-crash popular
culture, specifically the kind mass produced by multinational
corporations in the age of media conglomeration, which is inflected
by diminishment, influenced by scarcity, and infused with anxiety.
The multidisciplinary contributors collected here examine mass
culture not typically included in discussions of the financial
meltdown, from disaster films to reality TV hoarders, the horror
genre to reactionary representations of women, Christian right
radio to Batman, television characters of color to graphic novels
and literary fiction. The collected essays treat our busted culture
as a seismograph that registers the traumas of collapse, and locate
their pop artifacts along a spectrum of ideological fantasies,
social erasures, and profound fears inspired by the Great
Recession. What they discover from these unlikely indicators of the
recession is a mix of regressive, progressive, and bemused texts in
need of critical translation.
The story of racial hierarchy in the American film industry The
#OscarsSoWhite campaign, and the content of the leaked Sony emails
which revealed, among many other things, that a powerful Hollywood
insider didn't believe that Denzel Washington could "open" a
western genre film, provide glaring evidence that the opportunities
for people of color in Hollywood are limited. In The Hollywood Jim
Crow, Maryann Erigha tells the story of inequality, looking at the
practices and biases that limit the production and circulation of
movies directed by racial minorities. She examines over 1,300
contemporary films, specifically focusing on directors, to show the
key elements at work in maintaining "the Hollywood Jim Crow."
Unlike the Jim Crow era where ideas about innate racial inferiority
and superiority were the grounds for segregation, Hollywood's
version tries to use economic and cultural explanations to justify
the underrepresentation and stigmatization of Black filmmakers.
Erigha exposes the key elements at work in maintaining Hollywood's
racial hierarchy, namely the relationship between genre and race,
the ghettoization of Black directors to black films, and how
Blackness is perceived by the Hollywood producers and studios who
decide what gets made and who gets to make it. Erigha questions the
notion that increased representation of African Americans behind
the camera is the sole answer to the racial inequality gap.
Instead, she suggests focusing on the obstacles to integration for
African American film directors. Hollywood movies have an expansive
reach and exert tremendous power in the national and global
production, distribution, and exhibition of popular culture. The
Hollywood Jim Crow fully dissects the racial inequality embedded in
this industry, looking at alternative ways for African Americans to
find success in Hollywood and suggesting how they can band together
to forge their own career paths.
The story of racial hierarchy in the American film industry The
#OscarsSoWhite campaign, and the content of the leaked Sony emails
which revealed, among many other things, that a powerful Hollywood
insider didn't believe that Denzel Washington could "open" a
western genre film, provide glaring evidence that the opportunities
for people of color in Hollywood are limited. In The Hollywood Jim
Crow, Maryann Erigha tells the story of inequality, looking at the
practices and biases that limit the production and circulation of
movies directed by racial minorities. She examines over 1,300
contemporary films, specifically focusing on directors, to show the
key elements at work in maintaining "the Hollywood Jim Crow."
Unlike the Jim Crow era where ideas about innate racial inferiority
and superiority were the grounds for segregation, Hollywood's
version tries to use economic and cultural explanations to justify
the underrepresentation and stigmatization of Black filmmakers.
Erigha exposes the key elements at work in maintaining Hollywood's
racial hierarchy, namely the relationship between genre and race,
the ghettoization of Black directors to black films, and how
Blackness is perceived by the Hollywood producers and studios who
decide what gets made and who gets to make it. Erigha questions the
notion that increased representation of African Americans behind
the camera is the sole answer to the racial inequality gap.
Instead, she suggests focusing on the obstacles to integration for
African American film directors. Hollywood movies have an expansive
reach and exert tremendous power in the national and global
production, distribution, and exhibition of popular culture. The
Hollywood Jim Crow fully dissects the racial inequality embedded in
this industry, looking at alternative ways for African Americans to
find success in Hollywood and suggesting how they can band together
to forge their own career paths.
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