DOCSLIB.ORG

Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture PLAYING HIPPIES AND INDIANS: ACTS OF CULTURAL COLONIZATION IN THE THEATRE OF THE AMERICAN COUNTERCULTURE Miriam Hahn A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 Committee: Jonathan Chambers, Advisor Sheri Wells-Jensen, Graduate Faculty Representative Eileen Cherry-Chandler Scott Magelssen © 2014 Miriam Hahn All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor In this dissertation, I examine the appropriation of Native American cultures and histories in the theatre of the American counterculture of the 1960s and seventies, using the Living Theatre’s Paradise Now, the street theatricals and broadsides of the San Francisco Diggers, and James Rado and Gerome Ragni’s Hair: The American Tribal- Love Rock Musical as my primary case studies. Defining themselves by points of difference from mainstream America and its traditional social and cultural values, counterculturalists often attempted to align themselves with Native Americans in order to express an imagined sense of shared otherness. Representations of Natives on countercultural stages, however, were frequently steeped in stereotype, and they often depicted Native cultures inaccurately, elided significant tribal differences, and relegated Native identity almost wholly to the past, a practice that was particularly problematic in light of concurrent Native rights movements that were actively engaged in bringing national attention to the contemporary issues and injustices Native Americans faced on a daily basis. In my study, I analyze the impulses that might have led counterculturalists to appropriate Native culture during this period, highlighting some of the ways in which such appropriations played out in Paradise Now and Hair, as well as on the streets of San Francisco’s Haight-Ashbury district. I examine the countercultural tendency to use stereotyped Native characters as mascots for various—and sometimes competing— iv causes, such as environmentalism, hallucinogenic drug use, communalism, pacifism, and violent activism, and I demonstrate how such mascotry appeared in the theatre of the period. I also interrogate the propagation of the troublesome “vanishing Indian” stereotype during the sixties and seventies, tracing its development into the popular myth of the hippie as reincarnated Native. Finally, I examine Hanay Geiogamah’s 1972 play Body Indian as an alternative model for more ethical and responsible Native representation, also proposing my own guidelines for non-Native artists engaging with Native subject matter in their creative work. v Dedicated to Dan and Anne Hahn, to Sarah Mauldin and Daniel Hahn, and to Quincy Thomas. In memory of John and Helen Brooks, and of Robert and Ruth Hahn. vi ACKNOWLEDGMENTS There are many individuals who have supported me throughout my academic career, and I am grateful for the opportunity to thank them here. First, I offer many thanks to the members of my committee—Scott Magelssen, Jonathan Chambers, Eileen Cherry-Chandler, and Sheri Wells-Jensen. Your guidance and insights have enriched my work, your comments and suggestions have been highly generative, and your enthusiasm for this project has bolstered and sustained my own. Thank you all for giving generously of your time and energy, and for thoughtfully engaging with my work at every step of the process. Jonathan, I am so grateful to you for stepping in as my advisor this year and helping me to transition seamlessly into the final stages of my graduate career. Scott, I will never be able to thank you enough for all that you have done as my advisor and mentor. You have been there at every stage of the process—from my earliest seeds of an idea to the final keystrokes—encouraging me, challenging me, and helping me to develop the skills and confidence I needed, not only to complete this project, but to become a better scholar and academic professional. I have been blessed to study under many phenomenal teachers and advisors during my academic career, and I would especially like to thank Scott Magelssen, Jonathan Chambers, Lesa Lockford, Sara Chambers, Victor Holtcamp, Amy Lehman, Deno Trakas, Mark Ferguson, Kerry Ferguson, and Colleen Ballance. Your faith in my work encouraged me when I had none of my own. You’ve supported me at every turn, offering help and guidance despite the frenzied pace of your own hectic schedules. You’ve taught me how to ask better questions, and you’ve inspired me to look at the world in newer and more intuitive ways. You have each modeled for me different aspects vii of the kind of teacher, scholar, mentor, and artist I aspire to become, and I hope to continually reflect and honor your influence in my professional work. Thank you all for showing me the way. Over the past four years, I have had the great fortune of being part of a vibrant graduate community at BGSU, surrounded by the incredible love and support of colleagues who have become some of my dearest friends. In particular, I would like to thank Patrick and Alyssa Konesko, Angenette and Daniel Spalink, Slade Billew, Matthew Nicosia, and Heidi Nees Carver. When I first walked onto this campus, I had no idea that I would be welcomed by such an exceptional group of people, individuals with such caring hearts, brilliant minds, and generous spirits. You’ve led by example, and you’ve taught me so much about navigating everything from the classroom to the academic conference to the Midwest in winter. You have seen me through the darkest times, and you’ve helped me celebrate the best. I’m a better person because of the influence that each one of you has had on my life, and I am so grateful that I was able to share my time in Bowling Green with all of you. Of all of the amazing people I’ve met here, however, Quincy Thomas has touched my life most profoundly. Quincy, your friendship and your faith in me have kept me going when I didn’t think I had anything left to give. I will never be able to express just how thankful I am that we entered this program at the same time, and I can’t imagine how I would have finished it without you. It is a truly unique talent to be able to make someone look back fondly on their years in graduate school, but that’s exactly what you’ve done for me. Thank you for the laughter and the adventures, too many to mention here. Thank you for being there for me every single time the pressure became too much viii to handle. Thank you for being a sounding board for my bright ideas and my not-so- bright ones, for engaging thoughtfully with my scholarship, and for supporting me in each and every one of my endeavors. I love you and am so grateful that you are a part of my life. Finally, I would like to thank my family. Early on, my parents and grandparents taught me that education would be the key to my future success, and it is because of their guidance that I have attempted and achieved many of the things that I have, including pursuing a Ph.D. I am continually inspired by my parents’ inexhaustible passions for teaching and for learning, as well as by the influence of my late grandparents, who gave selflessly of their time and energy to help those in need and those they loved. My siblings have also set incredible examples for me, constantly showing me what it means to work hard to reach my goals, without compromise. To my parents, Dan and Anne Hahn, and to my sister and brother, Sarah Mauldin and Daniel Hahn, I offer my heartfelt thanks. You have helped me along this path in so many ways. You’ve supported my career decisions, engaged critically with my work, sparked thoughtful and generative conversations, allowed me to vent my frustrations, renewed my faith in my own abilities, and much, much more. I love you all and am truly blessed to have the support of such an wonderful family. A million thanks for all you’ve done to help me reach this point. vi TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I. A CULTURE IN CRISIS ............................................................................... 14 Defining the Counterculture ...................................................................................... 17 The Student Movement and the New Left ................................................................. 21 The Civil Rights Movement....................................................................................... 29 The Vietnam War ....................................................................................................... 36 Radical Theatre and the Counterculture .................................................................... 44 Vicarious Victimization and the Appropriation of Tragic Histories ......................... 54 CHAPTER II. UNETHICAL ETHNOGRAPHY AND THE APPROPRIATED NATIVE 61 The Living Theatre and Paradise Now ...................................................................... 64 The San Francisco Diggers ........................................................................................ 78 Hair: The American Tribal Love-Rock Musical ........................................................ 96 Countercultural Performance as Cultural Transvestitism .......................................... 113 Dialogical Performance and Empathy ....................................................................... 116 CHAPTER III. NATIVE MASCOTRY AND THE “IMAGINARY INDIAN” .................. 120 Countercultural
Load more

Recommended publications
  • Indians (2)” of the John G
    The original documents are located in Box 4, folder “Indians (2)” of the John G. Carlson Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 4 of the John G. Carlson Files at the Gerald R. Ford Presidential Library THE WHITE HOUSE WASHINGTON January 8, 1974 Dear Chief Fools Crow and Matthew Kirig: On behalf of the President, I want to thank you for your letter of November 19 to him, and for the specific questions you enclosed in the Bill of Particulars which Vine DeLoria delivered to Brad Patterson. We promised to have a detailed response to the specific questions, and the enclosure to this letter, prepared principally by the Department of Justice, constitutes that response. As you asked, the response avoids rhetoric and" soothing words" in its answers and confines itself to facts of history and law, with citations of statutes and Court decisions. By way of preface, however, I would like to add a personal word.
    [Show full text]
  • Benchmark Literacy Overview Common Core Edition
    BENCHMARK BENCHMARK LITERACYTM LITERACYTM GRADE TM Why choose Benchmark Literacy over K–6 all the other K–6 reading programs? Overview Common Core Edition Common Core Edition • Ten comprehension-focused units per grade • Grade-specific leveled text collections with explicit model-guide-apply instruction organized by unit comprehension strategy Needs • Seamless, spiraling, whole- to small-group • Phonics and word study kits that provide instruction that supports curriculum standards a complete K –6 continuum of skills • Pre-, post-, and ongoing assessment that • Research-proven instructional design Vocabulary drives instruction Shared Reading Phonics & Word Study Fluency Word Study Phonics Independent Reading Comprehensionp K–6 Comprehensive Teacher Resource Systems Assessment & Instruction $95.00 Y13229 B e n c h m a r k e d u c a t i o n c o m p a n y B e n c h m a r k e d u c a t i o n c o m p a n y ® ® BENCHMARK LITERACY OverviewTM Benchmark education company 629 Fifth Avenue • Pelham, NY • 10803 ©2014 Benchmark Education Company, LLC. All rights reserved. Teachers may photocopy the reproducible pages for classroom use. No other part of the guide may be reproduced or transmitted in whole or in part in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. ISBN: 978-1-4509-9670-9 For ordering information, call Toll-Free 1-877-236-2465 or visit our website at www.benchmarkeducation.com. BENCHMARK LITERACYTM Overview Common Core Edition Table of Contents Introducing Benchmark Literacy for Grades K–6 .
    [Show full text]
  • A Turf of Their Own
    HAVERFORD COLLEGE HISTORY DEPARTMENT A Turf of Their Own The Experiments and Contradictions of 1960s Utopianism David Ivy-Taylor 4/22/2011 Submitted to James Krippner in partial fulfillment of History 400: Senior Thesis Seminar Table of Contents Abstract 3 Acknowledgements 4 INTRODUCTION 5 Historical Problem 5 Historical Background 7 Sources 14 AN AQUARIAN EXPOSITION 16 The Event 16 The Myth 21 Historical Significance 25 DISASTER AT ALTAMONT .31 The Event 31 Media Coverage 36 Historical Significance 38 PEOPLE'S PARK: "A TURF OF THEIR OWN" 40 The Event 40 Media Coverage 50 Historical Significance 51 THE SAN FRANCISCO DIGGERS, COMMUNES, AND THE HUMAN BE-IN 52 Communes 52 The Diggers 54 San Francisco 55 CONCLUSIONS 59 BIBLIOGRAPHY 61 2 ABSTRACT After WWII, the world had to adjust to new technologies, new scientific concepts, new political realities, and new social standards. While America was economically wealthy after the war, it still had to deal with extremely difficult social and cultural challenges. Due to these new aspects of life, there were increasing differences in both the interests and values of children and their parents, what we have learned to call the "generation gap". The "generational gap" between the youth culture and their parents meant a polarizing society, each hating and completely misunderstanding the other.. This eventually resulted in a highly political youth culture that was laterally opposed to the government. Through isolation, the counterculture began to develop new philosophies and new ways of thinking, and a huge part of that philosophy was the pursuit of a "Good Society", a utopian dream for world peace.
    [Show full text]
  • Beginner's Puzzle Book
    CRASS JOURNAL: A record of letters, articles, postings and e-mails, February 2009 – September 2010 concerning Penny, Gee and Allison’s ‘Crassical Collection’. 1 Mark Hodkinson Pete Wright POMONA 22nd March, 2004 Dear Mark, I was sent a copy of your book, ‘Crass - Love Songs’ by Gee recently. Having read your introduction, and the preface by Penny, I felt moved to write to you. Crass was a group functioning on consensus with the occasional veto thrown in for good measure, so I thought you might be interested in a slightly different view of the proceedings. From the nature of your introduction, I’d say that you have a pretty thorough grounding in certain aspects of the band. I’d like to broaden the context. Things were fine when we started gigging, before we had any status or influence. The main discomfort I felt and still feel about what the band promoted, started when I realised that Thatcher’s sordid right-wing laissez-faire was little different from what we were pushing. It was an unpleasant shock. Neither Thatcher nor we considered the damage done. We concentrated on the ‘plus’ side always. To say that everyone can ‘do it’, and counting it a justification when the talented, the motivated, or the plain privileged responded, while ignoring the majority who couldn’t ‘do it’, and those who got damaged trying, is a poor measure of success. Just as Putin has become the new Tzar of Russia, Crass used the well worn paths to success and influence. We had friends, people with whom we worked and cooperated.
    [Show full text]
  • The Mahatma As Proof: the Nationalist Origins of The
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism Permalink https://escholarship.org/uc/item/77d6z8xw Author Shingavi, Snehal Ashok Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Mahatma Misunderstood: the politics and forms of South Asian literary nationalism by Snehal Ashok Shingavi B.A. (Trinity University) 1997 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Prof. Abdul JanMohamed, chair Prof. Gautam Premnath Prof. Vasudha Dalmia Fall 2009 For my parents and my brother i Table of contents Chapter Page Acknowledgments iii Introduction: Misunderstanding the Mahatma: the politics and forms of South Asian literary nationalism 1 Chapter 1: The Mahatma as Proof: the nationalist origins of the historiography of Indian writing in English 22 Chapter 2: “The Mahatma didn’t say so, but …”: Mulk Raj Anand’s Untouchable and the sympathies of middle-class 53 nationalists Chapter 3: “The Mahatma may be all wrong about politics, but …”: Raja Rao’s Kanthapura and the religious imagination of the Indian, secular, nationalist middle class 106 Chapter 4: The Missing Mahatma: Ahmed Ali’s Twilight in Delhi and the genres and politics of Muslim anticolonialism 210 Conclusion: Nationalism and Internationalism 306 Bibliography 313 ii Acknowledgements First and foremost, this dissertation would have been impossible without the support of my parents, Ashok and Ujwal, and my brother, Preetam, who had the patience to suffer through an unnecessarily long detour in my life.
    [Show full text]
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique.
    [Show full text]
  • Win Awenen Nisitotung Free Healthy Moms Moving ? Participate in Surveys Aanii, My Name Is Barb Sault Tribe, Which Means Your Smutek
    Win eaders please note: In the 10th paragraph of Denise Chase’s unit report on page 23, there has been a change to the text that differs from Awenen theR print edition of this month’s newspaper, with a line drawn through the text, “six (6) months prior to.” Nisitotung Ode’imin Giizis• Strawberry Moon Official newspaper of the Sault Ste. Marie Tribe of Chippewa Indians June 10 • Vol. 32 No. 6 Sault Tribe selects John Wernet as general counsel BY MICHELLE BOUSCHOR officially starts the job on June for the state of Michigan John Wernet, former deputy 13. “The Sault Tribe is the and served as counsel to the legal counsel to Gov. Jennifer state’s largest sovereign Native Michigan Commission on M. Granholm and a recognized community and is vitally Indian Affairs from 1980 expert in Native American important as a job provider. I through 1988, as First Assistant law, will be the new general am proud to be a member of in the Indian Law Unit from counsel to the Sault Ste. Marie their team.” 1992-1995, and as Assistant in Tribe of Chippewa Indians. Wernet earned his B.A. Charge of the Native American Wernet will become the lead from the University of Affairs Division from 1998 attorney for the Sault Tribe, Michigan’s Residential College through 2003. In 2003, he the largest federally recog- in 1972 and his J.D. from became Deputy Legal Counsel nized Indian tribe east of the Antioch School of Law in to Michigan Gov. Granholm Mississippi with nearly 39,000 Washington, D.C.
    [Show full text]
  • 'Resistance,' 'Cultural Radicalism,' and 'Self-Formation'
    Popular Culture, ‘Resistance,’ ‘Cultural Radicalism,’ and ‘Self-Formation’ Comments on the Development of a Theory Kaspar Maase 1. PRELIMINARY COMMENTS This article follows up on the debate over the resistance potential of popular culture. The first part traces the historical constellation of ideas in which the question arose and remains to this day. The second part attempts to systematize different dimensions of ‘resistance.’ The third part examines the development and criticism of this approach in the field of Cultural Studies. This leads to the fourth part, which investigates the role “cultural radicalism” (Fluck, “Die Wissenschaft” 115) has played in this discussion. The fifth part introduces the concept of self-formation. The sixth discusses the ways in which the political relevance of popular culture has been evaluated, and how the ‘resistance’ approach can be further developed. ‘Resistance’ in a specific sense, namely that established in British Cultural Studies, forms the point of reference, framing the topic of this article in three ways. Firstly, the analysis will take place within the supposed context of a clash of interests between ‘the people’ and ‘the power bloc’; secondly, it will focus on the cultural dimension; and thirdly, it will investigate the cultural exercise of power and oppositional practices from the perspective of ‘the people’ with the intention of facilitating their empowerment. The thoughts of political and academic actors as to what exactly constitutes ‘resistance’ are as varied and contradictory as the concerns articulated by ‘the people.’ Nonetheless, there is a widespread expectation that research from the perspective of ‘the people’ has to promote 46 Kaspar Maase oppositional feelings, thoughts, and actions.
    [Show full text]
  • Activism and Ironic Identities Amber Day Bryant University, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@Bryant University Bryant University DigitalCommons@Bryant University English and Cultural Studies Faculty Publications English and Cultural Studies Journal Articles and Research 2008 Are They for Real? Activism and Ironic Identities Amber Day Bryant University, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Civic and Community Engagement Commons, Mass Communication Commons, and the Rhetoric Commons Recommended Citation Day, Amber, "Are They for Real? Activism and Ironic Identities" (2008). English and Cultural Studies Journal Articles. Paper 86. https://digitalcommons.bryant.edu/eng_jou/86 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at DigitalCommons@Bryant University. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of DigitalCommons@Bryant University. For more information, please contact [email protected]. Amber Day 1 Are They For Real? Activism and Ironic Identities Political activists have not historically been known for their fun-loving sense of humor and playfulness. Nor do they have a reputation for communicating in riddles, deliberately speaking the opposite of what they mean. However, as the realities of mass media communication have evolved, so too have the tactics employed by activists for capturing the media spotlight. More and more groups are now building their actions around a playfully ironic sensibility, creating attention-getting stunts, graphics, and slogans, along with pre-packaged media sound-bites. Within this larger trend, one particular tactic involves a form of masquerade, as groups very deliberately assume the identities of their opponents.
    [Show full text]
  • The Sixties Counterculture and Public Space, 1964--1967
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • California Hard Core
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title California Hard Core Permalink https://escholarship.org/uc/item/0g37b09q Author Duong, Joseph Lam Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California California Hard Core By Joseph Lam Duong A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Waldo E. Martin, Chair Professor Kerwin Lee Klein Professor Linda Williams Spring 2014 Copyright 2014 by Joseph Lam Duong Abstract California Hard Core by Joseph Lam Duong Doctor of Philosophy in History University of California, Berkeley Professor Waldo E. Martin, Chair California Hard Core is a narrative history of the pornographic film industry in California from 1967 to 1978, a moment when Americans openly made, displayed, and watched sexually explicit films. Two interrelated questions animate this project: Who moved the pornographic film from the margins of society to the mainstream of American film culture? What do their stories tell us about sex and sexuality in the U.S. in the last third of the twentieth century? The earlier academic literature concentrates on pornographic film and political debates surrounding it rather than industry participants and their contexts. The popular literature, meanwhile, is composed almost entirely of book-length oral histories and autobiographies of filmmakers and models. California Hard Core helps to close the divide between these two literatures by documenting not only an eye-level view of work from behind the camera, on the set, and in the movie theater, but also the ways in which consumers received pornographic films, placing the reader in the viewing position of audience members, police officers, lawyers, judges, and anti-pornography activists.
    [Show full text]