Böcker utgivna av University Press of Mississippi

Since the earliest days of the nation, US citizenship has been linked to military service. Even though blacks fought and died in all American wars, their own freedom was usually restricted or denied. In many ways, World War II exposed this contradiction.As demand for manpower grew during the war, government officials and military leaders realized that the war could not be won without black support. To generate African American enthusiasm, the federal government turned to mass media. Several government films were produced and distributed, movies that have remained largely unexamined by scholars. Kathleen M. German delves into the dilemma of race and the federal government's attempts to appeal to black patriotism and pride even while postponing demands for equality and integration until victory was achieved.German's study intersects three disciplines: the history of the African American experience in World War II, the theory of documentary film, and the study of rhetoric. One of the main films of the war era, The Negro Soldier, fractured the long tradition of degrading minstrel caricatures by presenting a more dignified public image of African Americans. Along with other government films, the narrative within The Negro Soldier transformed the black volunteer into an able soldier. It included African Americans in the national mythology by retelling American history to recognize black participation. As German reveals, through this new narrative with more dignified images, The Negro Soldier and other films performed rhetorical work by advancing the agenda of black citizenship.

In 1955 Puerto Rican immigrant Frank Santana was sentenced to twenty-five years to life for second-degree murder. Fredric Wertham, an influential authority on child psychology, was outraged and felt compelled to write The Circle of Guilt. This edition includes a new introduction that places both the crime and Wertham's work into context.

From nineteenth-century American art and literature to comic books of the twentieth century and afterwards, Chad A. Barbour examines in From Daniel Boone to Captain America the transmission of the ideals and myths of the frontier and playing Indian in American culture.

Despite the Enlightenment's promise of utopian belonging among all citizens, blacks and Jews were excluded from the life of their host countries. This book explores the effects of diaspora upon black and Jewish consciousness, demonstrating similar histories of marginality and oppression.

Fans and critics alike perceive Wong Kar-wai (b. 1958) as an enigma. His dark glasses, his nonlinear narrations, and his high expectations for actors all contribute to an assumption that he only makes art for a few high-brow critics. However Wong's interviews show this Hong Kong auteur is candid about the art of filmmaking, even surprising his interlocutors by suggesting his films are commercial and made for a popular audience.Wong's achievements nevertheless feel like art-house cinema. His third film, Chungking Express, introduced him to a global audience captivated by the quick and quirky editing style. His Cannes award-winning films Happy Together and In the Mood for Love confirmed an audience beyond the greater Chinese market. His latest film, The Grandmaster, depicts the life of a kung fu master by breaking away from the martial arts genre. In each of these films, Wong Kar-wai's signature style--experimental, emotive, character-driven, and timeless--remains apparent throughout.This volume includes interviews that appear in English for the first time, including some that appeared in Hong Kong magazines now out of print. The interviews cover every feature film from Wong's debut As Tears Go By to his 2013 The Grandmaster.

A biography of the proper Charlestonian who wrote of the Gullahs of Catfish Row and inspired a Gershwin masterpiece

The experiences of a teacher and his white students on a nationwide trek toward racial understanding In 1998 James Waller took twenty-one white college students from Washington state on a month-long journey. Prejudice Across America is the record of their interaction with the American Indian, Asian American, African American, Hispanic, and Jewish experiences nationwide. Few books have so directly and humanly captured the moment when whites confront the realities of those living as a minority in America.Waller reports here on this innovative and award-winning trek. In Los Angeles, San Francisco, Chicago, Memphis, New Orleans, Birmingham, Atlanta, and Washington, D.C., his students hear both the official story of prejudice and the street story from people living and dealing with racism on a daily basis. Prejudice Across America is as much the journal of these travelers and what they face as it is a sweeping, up-close survey of the nation's racial landscape.The students walk the cheerless halls of a South Side housing project in Chicago, experience the agitated aftermath of the Olympic Games in Atlanta, and attend a briefing with President Clinton's Initiative on Race. All along the way, they hold wide-ranging group discussions and experience the unpredictable adventure of traveling by train, plane, and public transit.Drawing on student journals and on interviews with community leaders and activists throughout the country, Waller paints a compelling and provocative portrait of the nation's prejudice. In addition, Prejudice Across America includes analyses of the obstacles to reconciliation in each of the cities on the tour's itinerary.As they travel, students confront the thorny issues of race in America, face down stereotypical thoughts, prejudicial attitudes and discriminatory behaviors, and uncover more tough questions than easy answers. As Waller and another group of students prepare for a similar trek in 2001, Prejudice Across America will allow readers to join them in introspection and self-discovery in the urban reality of an America where diversity isn't simply a buzzword, but a way of life.

With contributions by:Greg Barnhisel, John N. Duvall, Kristin Fujie, Sarah E. Gardner, Jaime Harker, Kristi Rowan Humphreys, Robert Jackson, Mary A. Knighton, Jennifer Nolan, Carl Rollyson, Tim A. Ryan, Jay Satterfield, Erin A. Smith, and Yung-Hsing WuWilliam Faulkner's first ventures into print culture began far from the world of highbrow New York publishing houses such as Boni & Liveright or Random House and little magazines such as the Double Dealer. With that diverse publishing history in mind, this collection explores Faulkner's multifaceted engagements, as writer and reader, with the US and international print cultures of his era, along with how these cultures have mediated his relationship with various twentieth- and twenty-first-century audiences.These essays address the place of Faulkner and his writings in the creation, design, publishing, marketing, reception, and collecting of books, in the culture of twentieth-century magazines, journals, newspapers, and other periodicals (from pulp to avant-garde), in the history of modern readers and readerships, and in the construction and cultural politics of literary authorship.Several contributors focus on Faulkner's sensational 1931 novel Sanctuary to illustrate the author's multifaceted relationship to the print ecology of his time, tracing the novel's path from the wellsprings of Faulkner's artistic vision to the novel's reception among reviewers, tastemakers, intellectuals, and other readers of the early 1930s. Other essayists discuss Faulkner's early notices, the Saturday Review of Literature, Saturday Evening Post, men's magazines of the 1950s, and Cold War modernism.

Reveals an artist and activist whose work deftly negotiates boundaries of feminism, nationalism, and film. The intimacy of these collaborations or conversations between Bambara (1939-1995) and her interviewers provides an excellent and necessary resource for those interested in scholarly approaches to her fiction.

Winner of a 2018 C. L. R. James Award for a Published Book for Academic or General Audiences from the Working-Class Studies Association Beginning with the Haitian Revolution, Scott Henkel lays out a literary history of direct democracy in the Americas. Much research considers direct democracy as a form of organization fit for worker cooperatives or political movements. Henkel reinterprets it as a type of collective power, based on the massive slave revolt in Haiti. In the representations of slaves, women, and workers, Henkel traces a history of power through the literatures of the Americas during the long nineteenth century.Thinking about democracy as a type of power presents a challenge to common, often bureaucratic and limited interpretations of the term and opens an alternative archive, which Henkel argues includes C. L. R. James's The Black Jacobins, Walt Whitman's Democratic Vistas, Lucy Parsons's speeches advocating for the eight-hour workday, B. Traven's novels of the Mexican Revolution, and Marie Vieux Chauvet's novella about Haitian dictatorship.Henkel asserts that each writer recognized this power and represented its physical manifestation as a swarm. This metaphor bears a complicated history, often describing a group, a movement, or a community. Indeed it conveys multiplicity and complexity, a collective power. This metaphor's many uses illustrate Henkel's main concerns, the problems of democracy, slavery, and labor, the dynamics of racial repression and resistance, and the issues of power which run throughout the Americas.

A comprehensive view of the fascinating folklife in the Appalachian foothills of North and South Carolina

Presents a diverse collection of engagements with poet, teacher, and activist Sonia Sanchez. While it is common to associate Sanchez with the Black Arts Movement of the 1970s, these interviews reveal that Sanchez is a poet whose craft and subjects have evolved over three decades.

Amid the controversy surrounding immigration and border control, the work of California cartoonist Lalo Alcaraz (b. 1964) has delivered a resolute Latino viewpoint. Of Mexican descent, Alcaraz fights for Latino rights through his creativity, drawing political commentary as well as underlining how Latinos confront discrimination on a daily basis. Through an analysis of Alcaraz's early editorial cartooning and his strips for La Cucaracha, the first nationally syndicated, political Latino daily comic strip, author Hector D. Fernandez L'Hoeste shows the many ways Alcaraz's art attests to the community's struggles.Alcaraz has proven controversial with his satirical, sharp commentary on immigration and other Latino issues. What makes Alcaraz's work so potent? Fernandez L'Hoeste marks the artist's insistence on never letting go of what he views as injustice against Latinos, the fastest growing ethnic group in the United States. Indeed, his comics predict a key moment in the future of the United States--that time when a racial plurality will steer the country, rather than a white majority and its monocultural norms.Fernandez L'Hoeste's study provides an accessible, comprehensive view into the work of a cartoonist who deserves greater recognition, not just because Alcaraz represents the injustice and inequity prevalent in our society, but because as both a US citizen and a member of the Latino community, his ability to stand in, between, and outside two cultures affords him the clarity and experience necessary to be a powerful voice.

Exploring the diverse functions of space in Faulkner's artistic vision, the eleven essays in Faulkner's Geographies delve deep into Yoknapatawpha but also reach beyond it, to uncover unsuspected connections and flows linking local, regional, national, hemispheric, and global geographies in Faulkner's writings.

William Faulkner's life was rich in what he saw and read, and he seems to have remembered all of it and put it to use in his fiction. Faulkner's Inheritance is a collection of essays that examines the influences on Faulkner's fiction, including his own family history, Jim Crow laws, contemporary fashion, popular culture, and literature.

Arrested as a Freedom Rider in June of 1961, Carol Ruth Silver, a twenty-two-year-old recent college graduate originally from Massachusetts, spent the next forty days in Mississippi jail cells, including the Maximum Security Unit at the infamous Parchman Prison Farm. She chronicled the events and her experiences on hidden scraps of paper which amazingly she was able to smuggle out. These raw written scraps she fashioned into a manuscript, which has waited, unread for more than fifty years. Freedom Rider Diary is that account.Freedom Riders were civil rights activists who rode interstate buses into the segregated southern United States in 1961 to test the US Supreme Court rulings outlawing segregation in interstate bus and terminal facilities. Brutality and arrests inflicted on the Riders called national attention to the disregard for federal law and the local violence used to enforce segregation. Police arrested Riders for trespassing, unlawful assembly, and violating state and local Jim Crow laws, along with other alleged offenses, but they often allowed white mobs to attack the Riders without arrest or intervention.This book offers a heretofore unavailable detailed diary from a woman Freedom Rider along with an introduction by historian Raymond Arsenault, author of the definitive history of the Freedom Rides. In a personal essay detailing her life before and after the Freedom Rides, Silver explores what led her to join the movement and explains how, galvanized by her actions and those of her compatriots in 1961, she spent her life and career fighting for civil rights. Framing essays and personal and historical photographs make the diary an ideal book for the general public, scholars, and students of the movement that changed America.

This penetrating study of America's attitudes toward jazz focuses on a momentous period in postwar history - from the end of World War II to the beginning of the Black Power Movement. Exploring the diverse representations of jazz, it connects this uneven reception, and skewed use of jazz with the era's debates about race and racial difference.

Jeanne Soileau, a teacher in New Orleans and south Louisiana for more than forty years, examines how children's folklore, especially among African Americans, has changed. From the tumult of integration to the present, her experience afforded unique opportunities to observe children as they played.

Because of its diversity and openness to new cultures and religions, New Orleans provided fertile ground to nurture Spiritualism. Melissa Daggett focuses on Le Cercle Harmonique, the francophone seance circle of Henry Louis Rey (1831-1894), a Creole of colour who was a key civil rights activist, author, and Civil War and Reconstruction leader.

For fans of Peter Bagge (b. 1957) and his bracing satirical writing and drawing, this collection offers a perfect means to track how he describes his career choices, work habits, preoccupations, and comedic sensibility since the 1980s. This book delivers insightful, occasionally gossipy, sometimes funny, and often tart conversations.

Given the presumed dominance of American sport, many fans throughout the hemisphere find it difficult to envision the role of sport beyond the confines of their own continent. Rather than focusing on the Western Hemisphere, this collection of some of world sport's most heralded celebrities serves as a sort of passport to many places that make up our global sporting environment.

The mass media promotion of the feminist profile, according to Patricia Bradley, author of Mass Media and the Shaping of American Feminism, 1963-1975 proved to be a double-edged sword,. She argues that, although millions of women learned about feminism by way of the mass media, detrimental stereotypes emerged overnight.

A unique exploration of adaptation theory and how one dramatic visual style affects another

Ralph Ellison once said, "We're only a partially achieved nation." In The New Territory, scholars show how clearly Ellison foresaw and articulated both the challenges and the possibilities of America in the twenty-first century. Indeed, Ellison in these new essays appears more and more to be a cultural prophet of twenty-first century America.

Essays on the seemingly unstoppable writer, producer, director, actor, and entrepreneur Tyler PerryContributions by Leah Aldridge, Karen M. Bowdre, Aymar Jean Christian, Keith Corson, Rachel Jessica Daniel, Artel Great, Brandeise Monk-Payton, Miriam Petty, Paul N. Reinsch, Rashida Z. Shaw, Samantha N. Sheppard, Ben Raphael Sher, and Khadijah Costley WhiteFor over a decade Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed "mad black woman," not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week.Is the commercially successful African American actor, director, screenwriter, playwright, and producer "malt liquor for the masses," an "embarrassment to the race!," or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a "post-racial" society?In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contrbutors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.TreaAndrea M. Russworm, Amherst, Massachusetts, is an assistant professor of English at UMass Amherst. Her work has been published in Cinema Journal's Teaching Media and the books Watching While Black and Game On, Hollywood! Samantha N. Sheppard, Ithaca, New York, is an assistant professor of cinema and media studies at Cornell University. Her work has appeared in Cinema Journal and the edited collection The L.A. Rebellion: Creating a New Black Cinema. Karen M. Bowdre, Radnor, Pennsylvania, is an independent scholar who has published in Black Camera; Cinema Journal; and Falling in Love Again: The Contemporary Romantic Comedy.

Presents the first collection of interviews with the renowned poet of Home/Bass and other much-admired works. Spanning thirty years and drawn from literary and scholarly journals and other media, these interviews offer insights into his poetic innovation of blues and jazz and his mastery of black vernacular in poetry.

During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction--from alien invasions to biological mutation and space travel--the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. Departing from projections of American technological awe and optimism, these films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries; they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life.Regardless of their genre, Steffen Hantke argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, Hantke follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.

In Chocolate Surrealism, Njoroge Njoroge highlights connections among the production, performance, and reception of popular music at critical historical junctures in the late nineteenth and twentieth centuries. The author sifts different origins and styles to place socio-musical movements into a larger historical framework.Calypso reigned during the turbulent interwar period and the ensuing crises of capitalism. The Cuban rumba/son complex enlivened the postwar era of American empire. Jazz exploded in the Bandung period and the rise of decolonization. And, lastly, Nuyorican Salsa coincided with the period of the civil rights movement and the beginnings of black/brown power. Njoroge illuminates musics of the circum-Caribbean as culturally and conceptually integrated within the larger history of the region. He pays close attention to the fractures, fragmentations, and historical particularities that both unite and divide the region's sounds. At the same time, he engages with a larger discussion of the Atlantic world.Njoroge examines the deep interrelations between music, movement, memory, and history in the African diaspora. He finds the music both a theoretical anchor and a mode of expression and representation of black identities and political cultures. Music and performance offer ways for the author to re-theorize the intersections of race, nationalism and musical practice, and geopolitical connections. Further music allows Njoroge a reassessment of the development of the modern world system in the context of local, popular responses to the global age. The book analyzes different styles, times, and politics to render a brief history of Black Atlantic sound.

Critics in this volume reassess the prescient nature of Richard Wright's mind as well as his life and body of writings, especially those directly concerned with America and its racial dynamics. This edited collection offers new readings and understandings of the particular America that became Wright's focus at the beginning of his career and was still prominent in his mind at the end.

Few other writers have exerted as profound an influence on literature as Faulkner. Prominent literary scholar M. Thomas Inge documents the scope of his influence in the twentieth century through the words of those writers themselves. This collection of essays offers a survey attempting to capture exactly what Faulkner meant to his literary peers and colleagues both in the US and abroad.