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Black Soldiers in Liberal Hollywood
Katherine Kinney Cold Wars: Black Soldiers in Liberal Hollywood n 1982 Louis Gossett, Jr was awarded the Academy Award for Best Supporting Actor for his portrayal of Gunnery Sergeant Foley in An Officer and a Gentleman, becoming theI first African American actor to win an Oscar since Sidney Poitier. In 1989, Denzel Washington became the second to win, again in a supporting role, for Glory. It is perhaps more than coincidental that both award winning roles were soldiers. At once assimilationist and militant, the black soldier apparently escapes the Hollywood history Donald Bogle has named, “Coons, Toms, Bucks, and Mammies” or the more recent litany of cops and criminals. From the liberal consensus of WWII, to the ideological ruptures of Vietnam, and the reconstruction of the image of the military in the Reagan-Bush era, the black soldier has assumed an increasingly prominent role, ironically maintaining Hollywood’s liberal credentials and its preeminence in producing a national mythos. This largely static evolution can be traced from landmark films of WWII and post-War liberal Hollywood: Bataan (1943) and Home of the Brave (1949), through the career of actor James Edwards in the 1950’s, and to the more politically contested Vietnam War films of the 1980’s. Since WWII, the black soldier has held a crucial, but little noted, position in the battles over Hollywood representations of African American men.1 The soldier’s role is conspicuous in the way it places African American men explicitly within a nationalist and a nationaliz- ing context: U.S. history and Hollywood’s narrative of assimilation, the combat film. -
Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media. -
Viewers Recognize the Youth and Wholesomeness of Her Son Unsettle These
© 2010 KATE L. FLACH ALL RIGHTS RESERVED MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S TV A Thesis Presented to The Graduate Faculty of the University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts, History Kate L. Flach December, 2010 MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S Kate L. Flach Thesis Approved: Accepted: ________________________________ _________________________________ Advisor Dean of the College Dr. Tracey Jean Boisseau Dr. Chand Midha ________________________________ _________________________________ Co-Advisor Dean of the Graduate School Dr. Zachary Williams Dr. George R. Newkome ________________________________ _________________________________ Department Chair Date Dr. Michael Sheng ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ......................................................................................................1 II. FROM REAL IMAGES TO REEL EXPOSURE ......................................................5 III. WATCH AND LEARN: ESTABLISHING BLACK MIDDLE CLASS-NESS THROUGH MEDIA ................................................................................................17 IV. COVERING POST-WAR MOTHERHOOD ON TELEVISION ...........................26 V. INTERUPTING I LOVE LUCY FOR THIS? The Televised Emmett Till Trial ..............34 VI. CROSSING ALL Ts AND DOTTING LOWER CASE Js ......................................41 VII. CONCLUSION:“Okay, she can be the mother…” julia, November 26, -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Selected Highlights of Women's History
Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S. -
RED BANK SECTION and Surroundlnf Town* T»M Mrlmflv and Without Bias RED BANK REGISTER ONE
AIX the NEWS of RED BANK SECTION and Surroundlnf Town* T»M mrlMflv and Without Bias RED BANK REGISTER ONE VOLUME LX1II, NO. 8. RED BANK, N. J., THURSDAY, AUGUST 15, 1940. PAGES 1 TO 14« Shrewsbury Hoie No Reduction In Did Sapp Sock Social Service To Spoure With Saucer?, Company Opposes Interest Rate On Mrs. Vinnle T. Sapp of M5 River Dollar Days In Red Bank street was taken to Riverview hos- Hold Annual Session Fire Ordinance Taxes At Rumson pital Monday morning with bruises on her forehead and cheek and a cut on the forehead which was Chief Says New „ Finance Committee closed with one stitch, received dur- Today, Tomorrow and Sat.; Six Student Nuriet to Receive ing an argument with her husband, Law Too Elaborate- Decides to Retain Thomas Sapp. Mrs. Sapp explained that she threw Certificates September 4 To Seek Changes Eight Per Cent Rate a saucer at her husband and In some mysterious way the saucer returned Store-Wide Bargains Galore The Monmouth. County Organiza- Members of Shrewsbury Hose com- The Interest rat* on delinquent to bruise her. Mrs. Sapp refused tion (or Social Service will hold 1U pany Tueaday night went on record taxes in Rumson will remain at to aay whether Sapp caught the annual meeting Wednesday, Septem- "Abe," Boat Porter aa unanimously opposed to the new eight per cent. Councilman Sheldon aaucer and returned it on the wing Legion Meets Warning Period For Many Merchants Co- ber 4, at Brookdale Farm, Llncroft, fire ordinance which waa introduced T. Coleman, chairman of the finance or whether the recalcitrant plate home of the president of the organ- and pawed on first reading Tueaday committee, reported to the mayor boom e ran Red to damage her face. -
Anti-Apartheid Solidarity in United States–South Africa Relations: from the Margins to the Mainstream
Anti-apartheid solidarity in United States–South Africa relations: From the margins to the mainstream By William Minter and Sylvia Hill1 I came here because of my deep interest and affection for a land settled by the Dutch in the mid-seventeenth century, then taken over by the British, and at last independent; a land in which the native inhabitants were at first subdued, but relations with whom remain a problem to this day; a land which defined itself on a hostile frontier; a land which has tamed rich natural resources through the energetic application of modern technology; a land which once imported slaves, and now must struggle to wipe out the last traces of that former bondage. I refer, of course, to the United States of America. Robert F. Kennedy, University of Cape Town, 6 June 1966.2 The opening lines of Senator Robert Kennedy’s speech to the National Union of South African Students (NUSAS), on a trip to South Africa which aroused the ire of pro-apartheid editorial writers, well illustrate one fundamental component of the involvement of the United States in South Africa’s freedom struggle. For white as well as black Americans, the issues of white minority rule in South Africa have always been seen in parallel with the definition of their own country’s identity and struggles against racism.3 From the beginning of white settlement in the two countries, reciprocal influences have affected both rulers and ruled. And direct contacts between African Americans and black South Africans date back at least to the visits of American 1 William Minter is editor of AfricaFocus Bulletin (www.africafocus.org) and a writer and scholar on African issues. -
Voices Section M
Voices section M You'll never find a sparring partner in life better than adversity. ~ Golda Meir ~ MacArthur MacDonald Magie Mahler Malamud Mandela Mao Margaret Marley Marquez Marston Martin Martineau Marx Maslow Massey Matthau Maupassant McCrae McDaniel Mckuen McLean Mead Meir Melville Mencius Mencken Meredith Millar Milne Mitchell Mitchell Monroe Montaigne Montalban Montand Montgomery Montessori Moore Morgan Morrison Morrison Morton Mozart Mukherjee Murdoch Even when opportunity knocks, a man still has to get up off his seat and open the door.* Même lorsque l'occasion se présente, un homme a encore de se lever de son siège et ouvre la porte. 即使有机会碰,一名男子仍要起床掉他的座椅上,打开了车门. Douglas MacArthur General ww 2 Jan 26, 1880 - Apr 5, 1964 Voicesvoyagethroughtime Integrity is not a conditional word. It doesn't blow in the wind or change with the weather. It is your inner image of yourself, and if you look in there and see a man who won't cheat, then you know he never will. L'intégrité n'est pas un mot de mise en liberté sous condition. Il de souffler dans le vent ou changer avec le temps. C'est votre image intérieure de vous-même, et si vous regardez en y pour voir un homme qui a gagné de tricher, alors vous savez qu'il ne le fera jamais. 誠信不是一種有條件的字詞. 它不在風吹或更改後的天氣. 這是你的內在的形象, 並在那裏看到自己如果你 看一個人誰贏得作弊, 那麼你知道他永遠也不會. John Dann MacDonald Writer Jul 24, 1916 - Dec 28, 1986 Voicesvoyagethroughtime I am thankful that I was taught how to think and not what to think. Lizzie Magie Gamer designer: Monopoly Elizabeth Magie Philips 1866 ~ 1948 Voicesvoyagethroughtime Discipline, work. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
Hillside NEIGHBORHOOD DESCRIPTION the Hillside Neighborhood Is a Residential Island Surrounded by Industry and Freeways
Approximate boundaries: N-N. Halyard St; S-W. Fond Du Lac Ave; E-N. 6th St; W-Hwy 43 NORTH SIDEHillside NEIGHBORHOOD DESCRIPTION The Hillside neighborhood is a residential island surrounded by industry and freeways. The main housing styles in Hillside are the multi-story apartment complexes and one- story homes around the parks. Interspersed are a few old industrial buildings. There are two parks in the Hillside neighborhood--James W. Beckum Park, which has an area for little league baseball, and Carver Park, a 23-acre space with playground equipment. See photos below. HISTORY The area that is today’s Hillside neighborhood is located in the center of what was once known as the city’s Bronzeville community (with borders within Juneau and North Avenues, and old 3rd and 17th Streets— the widest area given by local historians). And before there was Bronzeville, there were other communities in today’s Hillside area. Early populations The original area comprising Hillside was developed after 1850. The early population was mostly German and they lived within walking distance of jobs at tanneries, the Schlitz Brewery, shoe factories, and mills. The Hillside neighborhood specifically attracted a number of German elite. According to John Gurda in Milwaukee, City of Neighborhoods (p. 188): So many Uihleins (owners of the Schlitz Brewery) lived on or near Galena Street that the area was known as “Uihlein Hill,” conveniently overlooking the family’s Third Street brewing complex. One of their mansions, which stayed in the family until the 1940s, stood just north of what is now the Hillside Terrace Family Resource Center. -
Download Full Book
Fighting for Hope Jefferson, Robert F. Published by Johns Hopkins University Press Jefferson, Robert F. Fighting for Hope: African American Troops of the 93rd Infantry Division in World War II and Postwar America. Johns Hopkins University Press, 2008. Project MUSE. doi:10.1353/book.3504. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/3504 [ Access provided at 26 Sep 2021 09:46 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Fighting for Hope war/society/culture Michael Fellman, Series Editor Fighting for Hope *** African American Troops of the 93rd Infantry Division in World War II and Postwar America robert f. jefferson The Johns Hopkins University Press Baltimore © 2008 The Johns Hopkins University Press All rights reserved. Published 2008 Printed in the United States of America on acid-free paper 246897531 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Jeªerson, Robert F., 1963– Fighting for hope : African American troops of the 93rd Infantry Division in World War II and postwar America / Robert F. Jeªerson. p. cm.—(War/society/culture) Includes bibliographical references and index. isbn-13: 978-0-8018-8828-1 (hbk. : alk. paper) isbn-10: 0-8018-8828-x (hbk. : alk. paper) 1. World War, 1939–1945—Participation, African American. 2. World War, 1939–1945—Campaigns—Oceania. 3. World War, 1939–1945—Veterans— United States—Social conditions. 4. United States. Army. Division, 93rd. 5. United States. Army—African American troops. -
The Archaeology of Black Theatre
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. The Archaeology of Black Theatre by VeVe A. Clark INTRODUCTION Black theatre history is turning artifacts into living monuments. During the 1970s, important studies of the Federal Theatre, black community theatres in California, Trinidad Carnival and the Ejagham Leopard mime from Nigeria and Cameroon have unearthed, analyzed and described performances and texts as diverse as the black world itself. (1) What these books have in common, besides impeccable scholarship and readibility, is their fundamental approach. They each treat theatre as cultural expression combining literature, art and sociology. Why such milestones in black theatre history have appeared at this time is a question not easily answered. All of these recent works have made full use of primary sources - a rare circumstance for most researchers in black theatre. There may be another distinction these studies suggest as well. Each demonstrates a commitment to the use of ethnographic and oral history techniques in a field that generally relies solely on written archives. Perhaps, as of the '70s, a new methodology for the study of black theatre has emerged. From my own work in the field and analysis of the literature devoted to world theatre, I have come to call the new methodology archaeology. (2) How archaeology in a black context differs from the literal definition of the term, what archaeology collects, analyzes and describes, how an archaeologist distributes the results of analysis are subjects in need of scholarly dis- cussion.