This essay presents the idea of James Baldwin as a freedom writer, the organizing idea of
my biography in progress. As a freedom writer, Baldwin was a revolutionary intellectual,
an essayist and novelist committed unfailingly to the realization of racial justice,
interracial political equality, and economic democracy. While the book is still in
process, this short essay narrates autobiographically how I came to meet and know
Baldwin’s work, explains in critical fashion my work in relation to existing biographies,
and reflects interpretively my thoughts-in- progress on this fascinating and captivating
figure of immense historical and social consequence.
Sir Walter Scott and the Hudson River School of Painting
Kerry Dean Carso
This essay examines the influence of Sir Walter Scott‘s historical romances on the artists of the Hudson River School of American landscape painting. Scotts writings inspired paintings of medieval castles, fictional and actual, as well as scenery related to Scott‘s life and literary works. Many American artists visited these sites first-hand and painted or sketched them, providing a visual record of the tourist experience of Great Britain.That so many American artists engaged in painting castles suggests the paradoxical nature of American culture in the nineteenth century, when commentators clamored for a uniquely American culture, even while American authors and artists copied or borrowed from European culture. Castles function as perhaps the ultimate European signifier in otherwise generalized landscapes. This essay argues that those American artists who included castles in the landscape gave American culture a modicum of legitimacy in an era of rising American nationalism.
I Am Not Your Negro (2016) takes its direction from the notes for a book
entitled “Remember this House” that James Baldwin left unfinished, a book about his three
friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their
intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on
twentieth- and twenty-first-century American politics and culture. Peck compiles archival
material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture,
and a series of banal images indexing the American dream. Juxtaposed against this
mythology is footage of Dorothy Counts walking to school, the assassination of black
leaders and activists, KKK rallies, and the different formations of the contemporary
carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship
with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he
fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for
the film, the similarities and shifts he wanted to document in American culture since the
1960s, and some of the criticism he has received for not emphasizing more Baldwin’s
Understanding Production, Humour and Political Context through Nice
Coloured Girls (1987) and The Sapphires
How Indigenous Australian history has been portrayed and who has been empowered
to define it is a complex and controversial subject in contemporary Australian
society. This article critically examines these issues through two Indigenous
Australian films: Nice Coloured Girls (1987) and The
Sapphires (2012). These two films contrast in style, theme and
purpose, but each reclaims Indigenous history on its own terms. Nice
Coloured Girls offers a highly fragmented and experimental history
reclaiming Indigenous female agency through the appropriation of the colonial
archive. The Sapphires eschews such experimentation. It instead
celebrates Indigenous socio-political links with African American culture,
‘Black is beautiful’, and the American Civil Rights movements of
the 1960s. Crucially, both these films challenge notions of a singular and
tragic history for Indigenous Australia. Placing the films within their wider
cultural contexts, this article highlights the diversity of Indigenous
Australian cinematic expression and the varied ways in which history can be
reclaimed on film. However, it also shows that the content, form and
accessibility of both works are inextricably linked to the industry concerns and
material circumstances of the day. This is a crucial and overlooked aspect of
film analysis and has implications for a more nuanced appreciation of Indigenous
film as a cultural archive.
This book is a wide-ranging introductory academic book for students and teachers interested in studying comedy on film, television and radio (and for anyone else with an analytic interest in these media). It discusses key issues around comedy through analysis of significant and revealing comedy texts from these media. The first part of the book looks at how comedy works. In order to do this, it considers the nature of comedy as manifested in specific media forms, from the exploitation of the non-visual in radio to the familiar, domesticated settings suited to television's small screen. It examines the historical, industrial and cultural contexts in which British and American comedy in film, radio and television developed (in that order). The book also deals with gender, sexuality and comedy, ranging from the depictions of femininity and masculinity in romantic comedy film to the representations offered of gay and lesbian characters across our chosen media. Studies of low British comedy and American gross-out comedy underpin work on specific examples which directly challenge standards of taste and cultural taboos. Whatever the nature and effect of racial and ethnic humour, it is clear that there have been some significant shifts in the ways in which radio, television and film comedy have presented or inflected it over time. The book deals with broad case studies of British and American culture.
This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.
Peter Carey's fictions explore the experiences lurking in the cracks of normality, and are inhabited by hybrid characters living in between spaces or on the margins. Carey took a circuitous route into literature and writing. Characterising Carey's stories takes us to the heart of his fictional practice. Most adopt a mixture of narrative modes, a central feature of his writing. In Carey stories, terminal societies trap characters in drive-in movie car parks, or offer the bizarre possibility of exchanging bodies, or generate a counter-revolutionary resistance movement led by fat men. Grouping the stories around themes and issues allows for a fairly comprehensive insight into Carey's shorter works, and provides some key threads for later discussions of the longer fiction. Four of the most significant areas are: American imperialism and culture; capitalism; power and authority; and gender. In Bliss, the hippy capitalists of 'War Crimes' are replaced by the more conventional scenario of hippies versus capitalists. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. Oscar and Lucinda might be termed 'retro-speculative' fiction. The Tax Inspector is Carey's most savage novel to date, and it captures Marx's vision of the ravening effects of capital. The Unusual Life of Tristan Smith marks a return to the overt alternative world-building found in the early stories with their fantastic and fable-like scenarios. The overlap between post-modernism and post-colonialism in Carey has been investigated by a number of critics.
life for even near-high-flyers; but during their time at
Rochester they did not feel, as some at Hull did, that they were in a
backwater and only waiting for a call … Almost all of them believed …
that we had to be friendly one to another, and the more so because
academic life in the States is regarded as more of an odd backwater
even than it is in England.
He tells stories about his encounters with colleagues, neighbours and
students, always reflecting in interesting ways on the differences
between English and Americancultures. This is something he is
fetishization of white wealth’ (Klein, 2000: 76). In so doing, these companies
have mobilised the spectacle of African-American expenditure in music and
sport particularly, in order to evoke that which is missing in dominant Americanculture.
The very simple diagram shown in Figure 5.1 means that excess is located in
the interior as its essence. The diagram is there to illustrate the idea that the
relationship between minority and majority cultures in the US, the non-relation between black and white, is not an effect of a bipartition between inside
locally to be viable. Watch
episodes of British and American sitcoms made at roughly the same
time and assess the ways in which the humour they offer differs. Are
the practical differences in format, writing and production process
more or less significant than differences between British and
Americanculture and outlook?
The situation comedy is the