Sharon Monteith - Böcker

A wide-ranging introduction to film history, this anthology covers the history of film from 1895 to the present day. The book is arranged chronologically, and each chapter contains an introduction by the editors on the key developments within the period, followed by a classic piece of historical research about that period. Various types of film history are undertaken in the articles, so that students can become familiar with different types of film historical research. For example, topics include the history of audiences; exhibition; marketing; censorship; aesthetic history; political history; and historical reception studies. The book is therefore designed to provide students with a narrative history spine while simultaneously introducing them to different approaches to the study and research of film history. Concentrating on the plurality of the ‘historical turn’ in film studies, this book demonstrates that film history is, and should be, about more than simply key films, directors and movements.Key features*Contains a preface that explains the structure and organisation of the book*Chapter introductions provide a chronological sense of international developments*Includes key articles of film history that illustrate differences in methodological approach, and which are devoted both to America and to a wide range of non-American contexts

A wide-ranging introduction to film history, this anthology covers the history of film from 1895 to the present day. The book is arranged chronologically, and each chapter contains an introduction by the editors on the key developments within the period, followed by a classic piece of historical research about that period. Various types of film history are undertaken in the articles, so that students can become familiar with different types of film historical research. For example, topics include the history of audiences; exhibition; marketing; censorship; aesthetic history; political history; and historical reception studies. The book is therefore designed to provide students with a narrative history spine while simultaneously introducing them to different approaches to the study and research of film history. Concentrating on the plurality of the ‘historical turn’ in film studies, this book demonstrates that film history is, and should be, about more than simply key films, directors and movements.Key features*Contains a preface that explains the structure and organisation of the book*Chapter introductions provide a chronological sense of international developments*Includes key articles of film history that illustrate differences in methodological approach, and which are devoted both to America and to a wide range of non-American contexts

This book charts the changing complexion of American culture in one of the most culturally vibrant of twentieth-century decades. It provides a vivid account of the major cultural forms of 1960s America - music and performance; film and television; fiction and poetry; art and photography - as well as influential texts, trends and figures of the decade: from Norman Mailer to Susan Sontag; from Muhammad Ali's anti-war protests to Tom Lehrer's stand-up comedy; from Bob Dylan to Rachel Carson; and from Pop Art to photojournalism. A chapter on new social movements demonstrates that a current of conservatism runs through even the most revolutionary movements of the 1960s and the book as a whole looks to the West and especially to the South in the making of the sixties as myth and as history. Key Features:* Focused case studies featuring key texts, genres, writers, artists and cultural trends* Detailed chronology of 1960s American culture* Bibliographies for each chapter* Over 30 black and white illustrations

This book charts the changing complexion of American culture in one of the most culturally vibrant of twentieth-century decades. It provides a vivid account of the major cultural forms of 1960s America - music and performance; film and television; fiction and poetry; art and photography - as well as influential texts, trends and figures of the decade: from Norman Mailer to Susan Sontag; from Muhammad Ali's anti-war protests to Tom Lehrer's stand-up comedy; from Bob Dylan to Rachel Carson; and from Pop Art to photojournalism. A chapter on new social movements demonstrates that a current of conservatism runs through even the most revolutionary movements of the 1960s and the book as a whole looks to the West and especially to the South in the making of the sixties as myth and as history. Key Features:* Focused case studies featuring key texts, genres, writers, artists and cultural trends* Detailed chronology of 1960s American culture* Bibliographies for each chapter* Over 30 black and white illustrations

This collection of nine essays analyzes the people, the protests, and the incidents of the civil rights movement through the lens of gender. More than just a study of women, the book examines the ways in which assigned sexual roles and values shaped the strategy, tactics, and ideology of the movement. The essays deal with topics ranging from the Montgomery bus boycott and Rhythm and Blues to gangsta rap and contemporary fiction, from the 1950s to the 1990s. Referring to groups such as the National Council of African American Men and events such as the Million Man March, the authors address male gender identity as much as female, arguing that slave/master relations from before the Civil War continued to affect Black masculinity in the postwar battle for civil rights. Whereas feminism traditionally deals with issues of patriarchy and prescribed gender roles, this volume shows how race relations continue to complicate sex-based definitions within the civil rights movement.

In a new anthology of essays, an international group of scholars examines the powerful interaction between gender and race within the Civil Rights Movement and its legacy.

Formed in 1960 in Raleigh, North Carolina, the Student Non-violent Coordinating Committee (SNCC) was a high-profile civil rights collective led by young people. For Howard Zinn in 1964, SNCC members were “new abolitionists,” but SNCC pursued radical initiatives and Black Power politics in addition to reform. It was committed to grassroots organizing in towns and rural communities, facilitating voter registration and direct action through “projects” embedded in Freedom Houses, especially in the South: the setting for most of SNCC’s stories. Over time, it changed from a tight cadre into a disparate group of many constellations but stood out among civil rights organizations for its participatory democracy and emphasis on local people deciding the terms of their battle for social change. Organizers debated their role and grappled with SNCC’s responsibility to communities, to the “walking wounded” damaged by racial terrorism, and to individuals who died pursuing racial justice. SNCC’s Stories examines the organization’s print and publishing culture, uncovering how fundamental self- and group narration is for the undersung heroes of social movements. The organizer may be SNCC’s dramatis persona, but its writers have been overlooked. In the 1960s it was assumed established literary figures would write about civil rights, and until now, critical attention has centered on the Black Arts Movement, neglecting what SNCC’s writers contributed. Sharon Monteith gathers hard-to-find literature where the freedom movement in the civil rights South is analyzed as subjective history and explored imaginatively. SNCC’s print culture consists of field reports, pamphlets, newsletters, fiction, essays, poetry, and plays, which serve as intimate and illuminative sources for understanding political action. SNCC's literary history contributes to the organization's legacy.

Formed in 1960 in Raleigh, North Carolina, the Student Non-violent Coordinating Committee (SNCC) was a high-profile civil rights collective led by young people. For Howard Zinn in 1964, SNCC members were “new abolitionists,” but SNCC pursued radical initiatives and Black Power politics in addition to reform. It was committed to grassroots organizing in towns and rural communities, facilitating voter registration and direct action through “projects” embedded in Freedom Houses, especially in the South: the setting for most of SNCC’s stories. Over time, it changed from a tight cadre into a disparate group of many constellations but stood out among civil rights organizations for its participatory democracy and emphasis on local people deciding the terms of their battle for social change. Organizers debated their role and grappled with SNCC’s responsibility to communities, to the “walking wounded” damaged by racial terrorism, and to individuals who died pursuing racial justice. SNCC’s Stories examines the organization’s print and publishing culture, uncovering how fundamental self- and group narration is for the undersung heroes of social movements. The organizer may be SNCC’s dramatis persona, but its writers have been overlooked. In the 1960s it was assumed established literary figures would write about civil rights, and until now, critical attention has centered on the Black Arts Movement, neglecting what SNCC’s writers contributed. Sharon Monteith gathers hard-to-find literature where the freedom movement in the civil rights South is analyzed as subjective history and explored imaginatively. SNCC’s print culture consists of field reports, pamphlets, newsletters, fiction, essays, poetry, and plays, which serve as intimate and illuminative sources for understanding political action. SNCC's literary history contributes to the organization's legacy.

This Companion maps the dynamic literary landscape of the American South. From pre- and post-Civil War literature to modernist and civil rights fictions and writing by immigrants in the 'global' South of the late-twentieth and twenty-first centuries, these newly commissioned essays from leading scholars explore the region's established and emergent literary traditions. Touching on poetry and song, drama and screenwriting, key figures such as William Faulkner and Eudora Welty, and iconic texts such as Gone with the Wind, chapters investigate how issues of class, poverty, sexuality and regional identity have textured Southern writing across generations. The volume's rich contextual approach highlights patterns and connections between writers while offering insight into the development of Southern literary criticism, making this Companion a valuable guide for students and teachers of American literature, American studies and the history of storytelling in America.

This Companion maps the dynamic literary landscape of the American South. From pre- and post-Civil War literature to modernist and civil rights fictions and writing by immigrants in the 'global' South of the late-twentieth and twenty-first centuries, these newly commissioned essays from leading scholars explore the region's established and emergent literary traditions. Touching on poetry and song, drama and screenwriting, key figures such as William Faulkner and Eudora Welty, and iconic texts such as Gone with the Wind, chapters investigate how issues of class, poverty, sexuality and regional identity have textured Southern writing across generations. The volume's rich contextual approach highlights patterns and connections between writers while offering insight into the development of Southern literary criticism, making this Companion a valuable guide for students and teachers of American literature, American studies and the history of storytelling in America.