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A Hard Rain Fell - David Barber - Bog - University Press of Mississippi - Plusbog.dk

A Hard Rain Fell - David Barber - Bog - University Press of Mississippi - Plusbog.dk

A study of the growth and demise of the most radical white student group of the sixtiesBy the spring of 1969, Students for a Democratic Society (SDS) had reached its zenith as the largest, most radical movement of white youth in American history-a genuine New Left. Yet less than a year later, SDS splintered into warring factions and ceased to exist.SDS''s development and its dissolution grew directly out of the organization''s relations with the black freedom movement, the movement against the Vietnam War, and the newly emerging struggle for women''s liberation. For a moment, young white people could comprehend their world in new and revolutionary ways. But New Leftists did not respond as a tabula rasa. On the contrary, these young people''s consciousnesses, their culture, their identities had arisen out of a history which, for hundreds of years, had privileged white over black, men over wo-men, and America over the rest of the world. Such a history could not help but distort the vision and practice of these activists, good intentions notwithstanding.A Hard Rain Fell: SDS and Why It Failed traces these activists in their relation to other movements and demonstrates that the New Left''s dissolution flowed directly from SDS''s failure to break with traditional American notions of race, sex, and empire.David Barber is assistant professor of history at the University of Tennessee at Martin. His work has appeared in Journal of Social History, Left History, and Race Traitor.

DKK 312.00
1

Daisy Bates - Grif Stockley - Bog - University Press of Mississippi - Plusbog.dk

Daisy Bates - Grif Stockley - Bog - University Press of Mississippi - Plusbog.dk

Daisy Bates (1914-1999) is renowned as the mentor of the Little Rock Nine, the first African Americans to attend Central High School in Little Rock, Arkansas. For guiding the Nine through one of the most tumultuous civil rights crises of the 1950s, she was selected as Woman of the Year in Education by the Associated Press in 1957 and was the only woman invited to speak at the Lincoln Memorial ceremony in the March on Washington in 1963. But her importance as a historical figure has been overlooked by scholars of the civil rights movement. Daisy Bates: Civil Rights Crusader from Arkansas chronicles her life and political advocacy before, during, and well after the Central High School crisis. An orphan from the Arkansas mill town of Huttig, she eventually rose to the zenith of civil rights action. In 1952, she was elected president of the NAACP in Arkansas and traveled the country speaking on political issues. During the 1960s, she worked as a field organizer for presidents John F. Kennedy and Lyndon B. Johnson to get out the black vote. Even after a series of strokes, she continued to orchestrate self-help and economic initiatives in Arkansas. Using interviews, archival records, contemporary news-paper accounts, and other materials, author Grif Stockley reconstructs Bates's life and career, revealing her to be a complex, contrary leader of the civil rights movement. Ultimately, Daisy Bates paints a vivid portrait of an ardent, overlooked advocate of social justice.

DKK 312.00
1

Abraham Polonsky - - Bog - University Press of Mississippi - Plusbog.dk

Abraham Polonsky - - Bog - University Press of Mississippi - Plusbog.dk

Abraham Polonsky (1910–1999), screenwriter and filmmaker of the mid-twentieth-century Left, recognized his writerly mission to reveal the aspirations of his characters in a material society structured to undermine their hopes. In the process, he ennobled their struggle. His auspicious beginning in Hollywood reached a zenith with his Oscar-nominated screenplay for Robert Rossen's boxing noir film, Body and Soul (1947), and his inaugural film as writer and director, Force of Evil (1948), before he was blacklisted during the McCarthy witch hunt. Polonsky envisioned cinema as a modern artist. His aesthetic appreciation for each technical component of the screen aroused him to create voiceovers of urban cadences—poetic monologues spoken by the city's everyman, embodied by the actor who played his heroes best, John Garfield. His use of David Raksin's score in Force of Evil, against the backdrop of the grandeur of New York City's landscape and the conflict between the brothers Joe and Leo Morse, elevated film noir into classical family tragedy. Like Garfield, Polonsky faced persecution and an aborted career during the blacklist. But unlike Garfield, Polonsky survived to resume his career in Hollywood during the ferment of the late sixties. Then his vision of a changing society found allegorical expression in Tell Them Willie Boy Is Here, his impressive anti-Western showing the destruction of the Paiute rebel outsider, Willie Boy, and cementing Polonsky as a moral voice in cinema.

DKK 267.00
1

The British Superhero - Chris Murray - Bog - University Press of Mississippi - Plusbog.dk

The British Superhero - Chris Murray - Bog - University Press of Mississippi - Plusbog.dk

Chris Murray reveals the largely unknown and rather surprising history of the British superhero. It is often thought that Britain did not have its own superheroes, yet Murray demonstrates that there were a great many in Britain and that they were often used as a way to comment on the relationship between Britain and America. Sometimes they emulated the style of American comics, but they also frequently became sites of resistance to perceived American political and cultural hegemony, drawing upon satire and parody as a means of critique. Murray illustrates that the superhero genre is a blend of several influences, and that in British comics these influences were quite different from those in America, resulting in some contrasting approaches to the figure of the superhero. He identifies the origins of the superhero and supervillain in nineteenth-century popular culture such as the penny dreadfuls and boys' weeklies and in science fiction writing of the 1920s and 1930s. He traces the emergence of British superheroes in the 1940s, the advent of "fake" American comics, and the reformatting of reprinted material. Murray then chronicles the British Invasion of the 1980s and the pivotal roles in American superhero comics and film production held by British artists today. This book will challenge views about British superheroes and the comics creators who fashioned them. Murray brings to light a gallery of such comics heroes as the Amazing Mr X, Powerman, Streamline, Captain Zenith, Electroman, Mr Apollo, Masterman, Captain Universe, Marvelman, Kelly's Eye, Steel Claw, the Purple Hood, Captain Britain, Supercats, Bananaman, Paradax, Jack Staff, and SuperBob. He reminds us of the significance of many such creators and artists as Len Fullerton, Jock McCail, Jack Glass, Denis Gifford, Bob Monkhouse, Dennis M. Reader, Mick Anglo, Brendan McCarthy, Alan Moore, Grant Morrison, Dave Gibbons, and Mark Millar.

DKK 312.00
1

The British Superhero - Chris Murray - Bog - University Press of Mississippi - Plusbog.dk

The British Superhero - Chris Murray - Bog - University Press of Mississippi - Plusbog.dk

Chris Murray reveals the largely unknown and rather surprising history of the British superhero. It is often thought that Britain did not have its own superheroes, yet Murray demonstrates that there were a great many in Britain and that they were often used as a way to comment on the relationship between Britain and America. Sometimes they emulated the style of American comics, but they also frequently became sites of resistance to perceived American political and cultural hegemony, drawing upon satire and parody as a means of critique. Murray illustrates that the superhero genre is a blend of several influences and that in British comics, these influences are quite different from those in America, resulting in some contrasting approaches to the figure of the superhero. He identifies the origins of the superhero and supervillain in nineteenth-century popular culture such as the penny dreadfuls and boy's weeklies and in science fiction writing of the 1920s and 1930s. From the emergence of British superheroes in the 1940s, the advent of "fake" American comics, and the reformatting of reprinted material to the British Invasion of the 1980s, and the pivotal roles in American superhero comics and film production held by British artists today, this book will challenge views about British superheroes and the comics' creators who fashioned them. Murray brings to light a gallery of such comics heroes as the Amazing Mr X, Powerman, Streamline, Captain Zenith, Electroman, Mr Apollo, Masterman, Captain Universe, Marvelman, Kelly's Eye, Steel Claw, the Purple Hood, Captain Britain, Supercats, Bananaman, Paradax, Jack Staff, and SuperBob. He reminds us of the signi cance of many such creators and artists as Len Fullerton, Jock McCail, Jack Glass, Denis Gifford, Bob Monkhouse, Dennis M. Reader, Mick Anglo, Brendan McCarthy, Alan Moore, Grant Morrison, Dave Gibbons, and Mark Millar.

DKK 858.00
1

Hearths of Darkness - Tony Williams - Bog - University Press of Mississippi - Plusbog.dk

Hearths of Darkness - Tony Williams - Bog - University Press of Mississippi - Plusbog.dk

A THOROUGH STUDY OF A MOVIE GENRE THAT REACHED ITS CULTURAL ZENITH IN THE 1970S BUT REMAINS INFLUENTIAL TODAYHearths of Darkness traces the origins of the 1970s family horror subgenre to certain aspects of American culture and classical Hollywood cinema. Far from being an ephemeral and shortlived genre, horror actually relates to many facets of American history from its beginnings to the present day. Individual chapters examine aspects of the genre, its roots in the Universal horror films of the 1930s, the Val Lewton RKO unit of the 1940s, and the crucial role of Alfred Hitchcock as the father of the modern American horror film.Subsequent chapters investigate the key works of the 1970s by directors such as Larry Cohen, George A. Romero, Brian De Palma, Wes Craven, and Tobe Hooper, revealing the distinctive nature of films such as Bone, It''s Alive, God Told Me, Carrie, The Exorcist, Exorcist 2, and The Texas Chainsaw Massacre, as well as the contributions of such writers as Stephen King. Tony Williams also studies the slasher films of the 1980s and 1990s, such as the Friday the 13th series, Halloween, the remake of The Texas Chainsaw Massacre, and Nightmare on Elm Street, exploring their failure to improve on the radical achievements of the films of the 1970s.After covering some post-1970s films, such as The Shining, the book concludes with a new postscript examining neglected films of the twentieth and early twenty-first century. Despite the overall decline in the American horror film, Williams determines that, far from being dead, the family horror film is still with us. Elements of family horror even appear in modern television series such as The Sopranos. This updated edition also includes a new introduction.Tony Williams, Carbondale, Illinois, is a professor of English and area head of film studies in the English Department at Southern Illinois University. His recent books include The Cinema of George A. Romero: Knight of the Living Dead; John Woo''s "Bullet in the Head"; and George A. Romero: Interviews (published by University Press of Mississippi).

DKK 858.00
1