... industrial landscape of Hollywood and, in the process, engaged such “classical” and topical issues as the femme fatale, femininity, and the “murder mystery” (Black Widow), homosexuality, interracial romance, and the occupation of Japan (House of Bamboo), criminality...

...This chapter explores how Third Reich romance melodramas attempted to form spectator desires to the benefit of Nazi imperialist aims. Nazi romance films positioned Third Reich culture as a liberation from nineteenth-century sexual morality while encouraging female participation in the public sphere...

... are ethnographic fiction. Vignette 1 elucidates Teresita’s lived experiences of racism in Veracruz. racialization processes and racism vignettes dance groups Experimental academic writing ethnographic fiction racism romance belonging dance music Mexico Latin America Teresita. 67. Veracruz born and bred...

... are ethnographic fiction. Vignette 4 alludes to the dynamics between a maestro, Antonio, and his dance and romantic partner, Lulú. sexuality and romance vignettes dance groups montuno section cadencia dancing and Experimental academic writing ethnographic fiction dance music ambivalence romance modernist...

...Through ethnographic research with danzón practitioners in Veracruz, Mexico, this book analyzes how music and dance intersect with aging, romance, nostalgia, and racial and national imaginaries. Most newcomers to danzón are over fifty years old, and the book argues that while younger people...

... their narrators' familial illegitimacy to the metaphorical illegitimacy that manifests as illegitimate narratives that are disavowed by hegemonic narratives of U.S. benevolent assimilation and exceptionalism. The chapter argues that the films resurrect the metaphors of imperialism as heterosexual romance...

...This chapter focuses on Ray Bradbury's romance with Marguerite McClure, which began in 1946 and culminated in marriage in 1947, and his creative enrichment during the period. Bradbury and McClure met for the first time on April 24, 1946, while he was reading in Fowler's Bookstore. Within a week...

... are ethnographic fiction. Vignette 6 alludes to the awkwardness and violence of Carmen and Ernesto’s romance, despite public appearances. class ambivalence and sexuality and romance vignettes dance groups tuning Experimental academic writing ethnographic fiction dance music age romance class domestic...

... this period, most musicals use a standard romance formula and vary the space and time to form several common “subgenres.” The author argues that, from the 1960s, artists begin to turn to other narrative formulas such as the male quest story (Tommy), horror (Sweeney Todd...

...“Beyond Gender?” examines projects Joanna completed, despite serious health problems, at the end of her career--including a semi-autobiographical, postrealist lesbian romance, On Strike against God (1980), and Extra(Ordinary)People (1984), an interrogation of utopia that moves from the exceptional...

... pulp tradition with British scientific romance complicated the distinctions between genre and mainstream fiction, and between hard and soft science fiction, and helped carve out space for emerging modes such as cyberpunk, slipstream, and biopunk....

...Focusing on German romance films, domestic melodramas, and home front films from 1933 to 1945, this book shows how melodramatic elements in Nazi cinema functioned as part of a project to move affect, body, and desire beyond the confines of bourgeois culture and participate in a curious...

... are ethnographic fiction. The Opening Vignette elucidates how it pains Gerardo to go to danzón events because he is still in love with his ex, Elena, who now goes to events with her new partner, Miguel. Plazuela de la Campana sexuality and romance vignettes dance groups Experimental academic writing...

...The introduction sets out the key issues and theoretical contribution of the book. It explicates how danzón is and is not linked to joyousness, blackness, nostalgia, a modernist aesthetic, conviviality, older age, and romance. It offers a typology of ambivalence as a theoretical tool to navigate...

... are ethnographic fiction. Vignette 3 documents Renata’s relationship to danzón events, her fondness for the people she’s fought with over the years, and the painful absence of her ill lover, Óscar. sexuality and romance tensions within danzón spheres vignettes dance groups Experimental academic writing...

... of amorous encounters. Finally, it reflects on age and gender in Veracruz’s danzón scene in relation to María Novaro’s film Danzón. dance groups Danzonera La Playa older dancers amorous encounters class ambivalence and danzón musicians class and reggaeton rock and roll sexuality and romance youth...

...This chapter analyzes the neo-noir Bound (1996). It shows how the splitting of sex from gender liberates generic conventions in the service of protagonists who, enacting a lesbian romance in film noir, avail themselves of generic formulas to double-cross the villains. Analyzing...

... the sort of self-reflexive devices associated with Douglas Sirk’s ‘50s melodramas in order to “estrange” or “alienate” the dark crime film. For example, by portraying an interracial romance and commenting on the cliché of Oriental inscrutability, The Crimson Kimono foregrounds the black...

... the world. To investigate Fifty Shades' appeal, the chapter presents interviews of thirty-six readers and grounds their reflections with feminist media research that explores women's use of romance reading. In the process, this chapter explores the series' messages about gender roles...

... Nazi cinema femininity romance domestic melodrama melodramatic excess The Nazi film industry, although the weapon of a regime founded on brutal militarism, produced at least ten times more domestic and romance melodramas than war films. Cinema was highly instrumentalized in the Third Reich, yet...