Molly Geidel – författare

In this book, Molly Geidel traces the rise and fall of the development film, an overlooked film genre that circulated widely in the Americas from the 1940s through the 1970s. Development films, often short documentaries, were made at the behest of state agencies, global governance organizations, and private corporations to link capitalist conceptions of economic growth to improved quality of life. Development films made this link beautifully compelling, blending elements from ethnography and socially committed leftist film traditions to create indelible narratives of underdevelopment and modernization. The Development Film in the Americas tells the story of these films and the hemispheric cohort of filmmakers who crafted them, chronicling the filmmakers' fraught relationships with both the organizations they worked for and the actors in their films.

In this book, Molly Geidel traces the rise and fall of the development film, an overlooked film genre that circulated widely in the Americas from the 1940s through the 1970s. Development films, often short documentaries, were made at the behest of state agencies, global governance organizations, and private corporations to link capitalist conceptions of economic growth to improved quality of life. Development films made this link beautifully compelling, blending elements from ethnography and socially committed leftist film traditions to create indelible narratives of underdevelopment and modernization. The Development Film in the Americas tells the story of these films and the hemispheric cohort of filmmakers who crafted them, chronicling the filmmakers' fraught relationships with both the organizations they worked for and the actors in their films.

In this book, Molly Geidel traces the rise and fall of the development film, an overlooked film genre that circulated widely in the Americas from the 1940s through the 1970s. Development films, often short documentaries, were made at the behest of state agencies, global governance organizations, and private corporations to link capitalist conceptions of economic growth to improved quality of life. Development films made this link beautifully compelling, blending elements from ethnography and socially committed leftist film traditions to create indelible narratives of underdevelopment and modernization. The Development Film in the Americas tells the story of these films and the hemispheric cohort of filmmakers who crafted them, chronicling the filmmakers fraught relationships with both the organizations they worked for and the actors in their films.

To tens of thousands of volunteers in its first decade, the Peace Corps was “the toughest job you’ll ever love.” In the United States’ popular imagination to this day, it is a symbol of selfless altruism and the most successful program of John F. Kennedy’s presidency. But in her provocative new cultural history of the 1960s Peace Corps, Molly Geidel argues that the agency’s representative development ventures also legitimated the violent exercise of American power around the world and the destruction of indigenous ways of life.In the 1960s, the practice of development work, embodied by iconic Peace Corps volunteers, allowed U.S. policy makers to manage global inequality while assuaging their own gendered anxieties about postwar affluence. Geidel traces how modernization theorists used the Peace Corps to craft the archetype of the heroic development worker: a ruggedly masculine figure who would inspire individuals and communities to abandon traditional lifestyles and seek integration into the global capitalist system.Drawing on original archival and ethnographic research, Geidel analyzes how Peace Corps volunteers struggled to apply these ideals. The book focuses on the case of Bolivia, where indigenous nationalist movements dramatically expelled the Peace Corps in 1971. She also shows how Peace Corps development ideology shaped domestic and transnational social protest, including U.S. civil rights, black nationalist, and antiwar movements.

This Element theorizes the emergence of the girl as the ideal subject of Western imperialist power. Feminist anti-imperialist scholars have long argued that imperialism operates through the global North's claim to be the savior of voiceless, victimized women and girls in the global South. However, during the global war on terrorism, the military and development organizations of the global North shifted their practices and rhetoric in response to the popularization of this feminist anti-imperialist critique. Focusing on this key historical shift, Theory of the Counterinsurgent Girl argues that hegemonic Western cultural and military strategies have moved away from 'saving' women to 'empowering' girls, in keeping with the neoliberal emphasis on individual resilience and agency. This Element traces the rise to dominance of the figure of the agential girl, analyzing how she has been incorporated into decision-making, securitizing, and policing operations as both a surveillance tool and a social justice goal.