...-class, urban and suburban audiences. Based on a survey of recent southern films, Vernon contends that contemporary southerners are often so desperate to disavowal cultural homogenization that they participate in the filmic fetishization and commodification of a working-class South that seems to have...

...Stephen Cushman extends Levin’s coverage with an examination of the Crater in recent fiction and film. Using Charles Frazier’s best-selling Cold Mountain (1997), Anthony Minghella’s cinematic version of the novel (2003), Duane Schultz’s Glory Enough for All (1993...

...This chapter explores the masculine reaction to the rise of Women’s Liberation and Second Wave feminism during the first decade of legislated social equality in the 1970s. The reaction is traced primarily through popular media, particularly on low-budget, exploitation films produced...

...This chapter discusses the preservation and securitization of the Bettmann Archive at the Corbis Film Preservation Facility, one of many vaults at the Iron Mountain National Data Center in Boyers, Pennsylvania. The chapter narrates a tour of Iron Mountain and highlights the way its features reflect...

...This chapter explores early Japanese American independent filmmaking as it emerged over and against the development of early Hollywood. It recovers the film production efforts of Japanese in the United States as an alternative system of film production and circulation. Even before Sessue Hayakawa...

...Across a rapidly changing industry, Japanese in Hollywood found themselves incorporated into the efforts of the major studios as they sought to recapture global audiences. The emergence of sound technology introduced the problem of Hollywood’s nationalization—as film became audible not only...

...This chapter considers the non-Japanese and working-class participants in Japanese film culture in the United States. Filipinos, in particular, were a sizable patronage for Japanese owned film theaters. Looking at the theaters catering to Filipino patrons, the chapter situates a film viewing public...

...This chapter looks at the eventual collapse of these multiple film publics. Many of the promoters and exhibitors of Japanese film were incarcerated in concentration camps during World War II. The film culture itself emerged as a target of federal scrutiny and investigation. Confiscating film reels...

... herd from Old Crow, Yukon, to the Arctic Refuge and back—a story told in the documentary film Being Caribou. The chapter emphasizes the impact of grassroots visual culture—including Being Caribou screening parties and slide show and film tours by Subhankar Banerjee...

...This chapter discusses the White House screening for the MGM film Fury, which was arranged by executive secretary Walter White. White had just previewed the film, a sensational dramatization of a near lynching, and had written to the studio to thank it enthusiastically...

...This chapter argues that the war initiated new forms of government-sponsored culture on radio and film, which made program administrators much more wary of the kinds of projects they would develop. Congressional hostility towards the Federal Writers' Project and the Federal Theatre Project had...

...This chapter explores the role of documentary films in the articulation of official and unofficial discourses about the Revolution. It examines the Zafra de los Diez Millones, a disastrous attempt to base the economy on an all-volunteer labor force, through the eyes of young sugarcane cutters...

...Depictions of Southern Appalachia in film and text have historically been disparaging and monolithic. Inscoe argues these characterizations are overly simplistic. The scholarly creation of Southern Appalachia as a distinct cultural and sociological entity began early in the twentieth century...

...This chapter begins with the intersection of the Altamont concert in 1969 and the first blaxploitation film, Sweet Sweetback's Baadasssss Song, and ends with the Willie Horton ad that contributed to George Bush Sr.'s election as president in 1988. Sweet Sweetback's...

... with his contempt for modernism, left him and his readers outside of mainstream American literary culture. It examines the role of mail-order distribution, advertising, and film tie-ins in reaching a large, nonliterary audience and how Wright's novels succeeded not as aesthetic objects, but as popular...

... integration War on Drugs white backlash Wiegman Robyn abolition movies Amistad Dangerous Minds dog whistles Framing Blackness The African American Image in Film Guerrero Ghosts of Mississippi Glory Hall Stuart heroism in Coffy holiday Martin Luther King Day as Long Walk Home The Martin Luther...

... of colorblindness could not merely happen through political speeches, newspapers, or books. The key, Justin Gomer contends, was film--as race-conscious language was expelled from public discourse, Hollywood provided the visual medium necessary to dramatize an anti–civil rights agenda over the course of the 70s, 80s...

... America, this book argues that these musicians, through their work in music festivals, nightclubs, social clubs, and television and film productions, played central roles in the development of Cuban, Afro-Cuban, Latino, and Afro-Latino identities and communities. The book draws from previously untapped...

... is just a 40 minute drive away. She recognizes this nation as the setting for the haunting 2008 film “Frozen River,” about human trafficking across the St. Lawrence River. After an encounter with the U.S. Border Patrol, the author quickly realizes she is back in nepantla, the land of in-between. Gloria...

... that Johnson, far from being haunted by evil, was a master ironist who viewed crossroads mythology skeptically and instrumentally: a way of attracting lovers and increasing his prestige. The film Crossroads (1986), an interracial buddy flick focused on the adventures of Johnson's peer Willie...