Richard L. Schur – författare
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"Richard Schur offers a provocative view of contemporary African American cultural politics and the relationship between African American cultural production and intellectual property law."---Mark Anthony Neal, Duke University"Whites used to own blacks. Now, they accomplish much the same thing by insisting that they 'own' ownership. Blacks shouldn't let them. A culture that makes all artists play by its rules will end up controlling new ideas and stifling change. Richard Schur's fine book explains why."---Richard Delgado, Seattle UniversityWhat is the relationship between hip-hop and African American culture in the post--Civil Rights era? Does hip-hop share a criticism of American culture or stand as an isolated and unique phenomenon? How have African American texts responded to the increasing role intellectual property law plays in regulating images, sounds, words, and logos? Parodies of Ownership examines how contemporary African American writers, artists, and musicians have developed an artistic form that Schur terms "hip-hop aesthetics." This book offers an in-depth examination of a wide range of contemporary African American painters and writers, including Anna Deavere Smith, Toni Morrison, Adrian Piper, Colson Whitehead, Michael Ray Charles, Alice Randall, and Fred Wilson. Their absence from conversations about African American culture has caused a misunderstanding about the nature of contemporary cultural issues and resulted in neglect of their innovative responses to the post--Civil Rights era. By considering their work as a cross-disciplinary and specifically African American cultural movement, Schur shows how a new paradigm for artistic creation has developed. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country.Richard L. Schur is Director, Interdisciplinary Studies Center, and Associate Professor of Interdisciplinary Studies at Drury University. Visit the author's website: http://www2.drury.edu/rschur/index.htm.Cover illustration: Atlas, by Fred Wilson. © Fred Wilson, courtesy Pace Wildenstein, New York.
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Fifteen years after the show’s debut, take a look back at the pop culture phenomenon Suits and its place in the pantheon of famous legal dramas. The television show Suits (2011-2019) has succeeded wildly. Reaching multiple generations of viewers, the show has become one of the most binged shows on Netflix long after its initial broadcast on USA Network in the 2010s. Drawing on the history of the television lawyer, workplace dramas, and postmodern comedies, the show explores the moral compromises facing professionals in the high stakes world of corporate litigation. Characters struggle with office politics, feeling like imposters, and finding family and community while working long hours. They also clash with their clients and opposing counsel who frequently engage in morally dubious behavior and who are willing to do whatever it takes to win their cases. Suits: A Cultural History provides an in-depth look at the show. This book reveals how the show re-configures televisions tropes and provides insight into cultural attitudes about lawyers and the law, social status and ambition, and the increasing demands of work. The show illustrates the hope and optimism of the Obama years and hints at the simmering undercurrents of political polarization of the Trump era. The television show possesses a deeply held sense of morality even as it skeptical about the choices lawyers face and how the legal process works. The book ultimately concludes that Suits is not simply a television show about rich, attractive lawyers involved in sometimes outlandish cases but a window into the viewers’ desires for family, community, and justice. The show’s popularity as binge-worthy television also offers insight into how television production and viewing is changing.