Camilla Fojas – författare

The alarm and anxiety unleashed by the Great Recession found fascinating expression across popular culture. Harried survivors negotiated societal collapse in The Walking Dead. Middle-class whites crossed the literal and metaphorical Mexican border on Breaking Bad or coped with a lack of freedom among the marginalized on Orange Is the New Black. Camilla Fojas uses representations of people of color, the incarcerated, and trans/queers--vulnerable populations all--to work through the contradictions created by the economic crisis and its freefalling aftermath. Television, film, advertising, and media coverage of the crisis created a distinct kind of story about capitalism and the violence that supports it. Fojas shows how these pop culture moments reshaped social dynamics and people's economic sensibilities and connects the ways pop culture reflected economic devastation. She also examines how these artifacts illuminated parts of society usually kept off-screen or on the margins even as they defaulted to stories of white protagonists.

The alarm and anxiety unleashed by the Great Recession found fascinating expression across popular culture. Harried survivors negotiated societal collapse in The Walking Dead. Middle-class whites crossed the literal and metaphorical Mexican border on Breaking Bad or coped with a lack of freedom among the marginalized on Orange Is the New Black. Camilla Fojas uses representations of people of color, the incarcerated, and trans/queers--vulnerable populations all--to work through the contradictions created by the economic crisis and its freefalling aftermath. Television, film, advertising, and media coverage of the crisis created a distinct kind of story about capitalism and the violence that supports it. Fojas shows how these pop culture moments reshaped social dynamics and people's economic sensibilities and connects the ways pop culture reflected economic devastation. She also examines how these artifacts illuminated parts of society usually kept off-screen or on the margins even as they defaulted to stories of white protagonists.

The southern frontier is one of the most emotionally charged zones in the United States, second only to its historical predecessor and partner, the western frontier. Though they span many genres, border films share common themes, trace the mood swings of public policy, and shape our cultural agenda. In this examination, Camilla Fojas studies how major Hollywood films exploit the border between Mexico and the United States to tell a story about U.S. dominance in the American hemisphere. She charts the shift from the mythos of the open western frontier to that of the embattled southern frontier by offering in-depth analyses of particular border films, from post-World War II Westerns to drug-trafficking films to contemporary Latino/a cinema, within their historical and political contexts. Fojas argues that Hollywood border films do important social work by offering a cinematic space through which viewers can manage traumatic and undesirable histories and ultimately reaffirm core "American" values. At the same time, these border narratives delineate opposing values and ideas. Latino border films offer a critical vantage onto these topics; they challenge the presumptions of U.S. nationalism and subsequent cultural attitudes about immigrants and immigration, and often critically reconstruct their Hollywood kin. By analyzing films such as Duel in the Sun, The Wild Bunch, El Norte, The Border, Traffic, and Brokeback Mountain, Fojas demands that we reexamine the powerful mythology of the Hollywood borderlands. This detailed scrutiny recognizes that these films are part of a national narrative comprised of many texts and symbols that create the myth of the United States as capital of the Americas.

Migrant Labor and Border Securities in Pop Culture explores the conditions for migrant domestic, agricultural, and factory workers as that of continual crisis and examines how the borderlands are a workshop of neoliberalism. These borderland stories present a future of integrated networks in which the border is not just physical but temporal, separating the present time of crisis and migrant phobia, and a future of transborder interaction and settlement based on bridges and networks rather than walls and the proliferation of security technologies. Written in accessible prose for undergraduate and graduate students across American studies, immigration studies, media and cultural studies and more, this book examines the collective action seen in Latina/o cultural productions after the economic crisis and how they reach across racial and geographic lines to imagine new entities.

The twentieth century was a time of unprecedented migration and interaction for Asian, Latin American, and Pacific Islander cultures in the Americas and the American Pacific. Some of these ethnic groups already had historic ties, but technology, migration, and globalization during the twentieth century brought them into even closer contact. Transnational Crossroads explores and triangulates for the first time the interactions and contacts among these three cultural groups that were brought together by the expanding American empire from 1867 to 1950.Through a comparative framework, this volume weaves together narratives of U.S. and Spanish empire, globalization, resistance, and identity, as well as social, labor, and political movements. Contributors examine multiethnic celebrities and key figures, migratory paths, cultural productions, and social and political formations among these three groups. Engaging multiple disciplines and methodologies, these studies of Asian American, Latin American, and Pacific Islander cultural interactions explode traditional notions of ethnic studies and introduce new approaches to transnational and comparative studies of the Americas and the American Pacific.

A Kansas City Star 2008 Notable BookSince the early days of Hollywood film, portrayals of interracial romance and of individuals of mixed racial and ethnic heritage have served to highlight and challenge fault lines within Hollywood and the nation's racial categories and borders. Mixed Race Hollywood is a pioneering compilation of essays on mixed-race romance, individuals, families, and stars in U.S. film and media culture.Situated at the cutting-edge juncture of ethnic studies and media studies, this collection addresses early mixed-race film characters, Blaxploitation, mixed race in children's television programming, and the "outing" of mixed-race stars on the Internet, among other issues and contemporary trends in mixed-race representation. The contributors explore this history and current trends from a wide range of disciplinary perspectives in order to better understand the evolving conception of race and ethnicity in contemporary culture.

A Kansas City Star 2008 Notable BookSince the early days of Hollywood film, portrayals of interracial romance and of individuals of mixed racial and ethnic heritage have served to highlight and challenge fault lines within Hollywood and the nation's racial categories and borders. Mixed Race Hollywood is a pioneering compilation of essays on mixed-race romance, individuals, families, and stars in U.S. film and media culture.Situated at the cutting-edge juncture of ethnic studies and media studies, this collection addresses early mixed-race film characters, Blaxploitation, mixed race in children's television programming, and the "outing" of mixed-race stars on the Internet, among other issues and contemporary trends in mixed-race representation. The contributors explore this history and current trends from a wide range of disciplinary perspectives in order to better understand the evolving conception of race and ethnicity in contemporary culture.

Written by scholars of various disciplines, the essays in this volume dig beneath the veneer of Hawai‘i’s myth as a melting pot paradise to uncover historical and complicated cross-racial dynamics. Race is not the primary paradigm through which Hawai‘i is understood. Instead, ethnic difference is celebrated as a sign of multicultural globalism that designates Hawai‘i as the crossroads of the Pacific. Racial inequality is disruptive to the tourist image of the islands. It ruptures the image of tolerance, diversity, and happiness upon which tourism, business, and so many other vested transnational interests in the islands are based. The contributors of this interdisciplinary volume reconsider Hawai‘i as a model of ethnic and multiracial harmony through the lens of race in their analysis of historical events, group relations and individual experiences, and humor, among other focal points. Beyond Ethnicity examines the dynamics between race, ethnicity, and indigeneity to challenge the primacy of ethnicity and cultural practices for examining difference in the islands while recognizing the significant role of settler colonialism in the islands. This original and thought-provoking volume reveals what a racial analysis illuminates about the current political configuration of the islands and in so doing, challenges how we conceptualize race on the continent.Recognizing the ways that Native Hawaiians or Kanaka Maoli are impacted by shifting, violent, and hierarchical colonial structures that include racial inequalities, the editors and contributors explore questions of personhood and citizenship through language, land, labor, and embodiment. By admitting to these tensions and ambivalences, the editors set the pace and tempo of powerfully argued essays that engage with the various ways that Kanaka Maoli and the influx of differentially racialized settlers continue to shift the social, political, and cultural terrains of the Hawaiian Islands over time.

Migrant Labor and Border Securities in Pop Culture explores the conditions for migrant domestic, agricultural, and factory workers as that of continual crisis and examines how the borderlands are a workshop of neoliberalism. These borderland stories present a future of integrated networks in which the border is not just physical but temporal, separating the present time of crisis and migrant phobia, and a future of transborder interaction and settlement based on bridges and networks rather than walls and the proliferation of security technologies. Written in accessible prose for undergraduate and graduate students across American studies, immigration studies, media and cultural studies and more, this book examines the collective action seen in Latina/o cultural productions after the economic crisis and how they reach across racial and geographic lines to imagine new entities.

Camilla Fojas explores a broad range of popular culture media-film, television, journalism, advertisements, travel writing, and literature-with an eye toward how the United States as an empire imagined its own military and economic projects. Impressive in its scope, Islands of Empire looks to Cuba, Guam, Hawai‘i, Puerto Rico, and the Philippines, asking how popular narratives about these island outposts expressed the attitudes of the continent throughout the twentieth century. Through deep textual readings of Bataan, Victory at Sea, They Were Expendable, and Back to Bataan (Philippines); No Man Is an Island and Max Havoc: Curse of the Dragon (Guam); Cuba, Havana, and Dirty Dancing: Havana Nights (Cuba); Blue Hawaii, Gidget Goes Hawaiian, and Paradise, Hawaiian Style (Hawai‘i); and West Side Story, Fame, and El Cantante (Puerto Rico), Fojas demonstrates how popular texts are inseparable from U.S. imperialist ideology.Drawing on an impressive array of archival evidence to provide historical context, Islands of Empire reveals the role of popular culture in creating and maintaining U.S. imperialism. Fojas’s textual readings deftly move from location to location, exploring each island’s relationship to the United States and its complementary role in popular culture. Tracing each outpost’s varied and even contradictory political status, Fojas demonstrates that these works of popular culture mirror each location’s shifting alignment to the U.S. empire, from coveted object to possession to enemy state.

Examines how the US-Mexico border is seen through visual codes of surveillance When Donald Trump promised to "build a wall" on the U.S.-Mexico border, both supporters and opponents visualized a snaking barrier of concrete cleaving through nearly two thousand miles of arid desert. Though only 4 percent of the US population lives in proximity to the border, imagining what the wall would look like came easily to most Americans, in part because of how images of the border are reproduced and circulated for national audiences. Border Optics considers the US-Mexico border as one of the most visualized and imagined spaces in the US. As a place of continual crisis, permanent visibility, and territorial defense, the border is rendered as a layered visual space of policing—one that is seen from watchtowers, camera-mounted vehicles, helicopters, surveillance balloons, radar systems, unmanned aerial vehicles, and live streaming websites. It is also a space that is visualized across various forms and genres of media, from maps to geographical surveys, military strategic plans, illustrations, photographs, postcards, novels, film, and television, which combine fascination with the region with the visual codes of surveillance and survey.Border Optics elaborates on the expanded vision of the border as a consequence of the interface of militarism, technology, and media. Camilla Fojas describes how the perception of the viewing public is controlled through a booming security-industrial complex made up of entertainment media, local and federal police, prisons and detention centers, the aerospace industry, and all manner of security technology industries. The first study to examine visual codes of surveillance within an analysis of the history and culture of the border region, Border Optics is an innovative and groundbreaking examination of security cultures, race, gender, and colonialism.

Examines how the US-Mexico border is seen through visual codes of surveillance When Donald Trump promised to "build a wall" on the U.S.-Mexico border, both supporters and opponents visualized a snaking barrier of concrete cleaving through nearly two thousand miles of arid desert. Though only 4 percent of the US population lives in proximity to the border, imagining what the wall would look like came easily to most Americans, in part because of how images of the border are reproduced and circulated for national audiences. Border Optics considers the US-Mexico border as one of the most visualized and imagined spaces in the US. As a place of continual crisis, permanent visibility, and territorial defense, the border is rendered as a layered visual space of policing—one that is seen from watchtowers, camera-mounted vehicles, helicopters, surveillance balloons, radar systems, unmanned aerial vehicles, and live streaming websites. It is also a space that is visualized across various forms and genres of media, from maps to geographical surveys, military strategic plans, illustrations, photographs, postcards, novels, film, and television, which combine fascination with the region with the visual codes of surveillance and survey.Border Optics elaborates on the expanded vision of the border as a consequence of the interface of militarism, technology, and media. Camilla Fojas describes how the perception of the viewing public is controlled through a booming security-industrial complex made up of entertainment media, local and federal police, prisons and detention centers, the aerospace industry, and all manner of security technology industries. The first study to examine visual codes of surveillance within an analysis of the history and culture of the border region, Border Optics is an innovative and groundbreaking examination of security cultures, race, gender, and colonialism.