Undefeated: John Wayne’s Confederate-Yankee Adventure in Mexico and the Rise of Populist-Conservatism, 1860s/1960s

Q4 Arts and Humanities Film and History Pub Date : 2022-06-01 DOI:10.1353/flm.2022.0011
M. Macías, D. McClure
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引用次数: 0

Abstract

James Review 2 (2016): 49-74. Historical projections are conglomerations of memory and history weaving through rhetoric, discourse, gestures, and symbols, which connect to sets of ideology in the present as well as material power. Historical projections gain potency from the positionality of its source—particularly those who cast a larger shadow of legitimacy as a source of credible information. Historical projections police the dominant common-sense using history and memory as a justification on the present. Those historically marginalized from the traditional histories passed down through education popular media often face historical erasure. As performances, historical projections regenerate traditional notions of the past for incorporation into the everyday, further securing a dominant narrative while containing statements made by historically marginalized peoples who seek to challenge existing power relations. Accordingly, historical projections are critical sites for culture wars. See also Daniel A of Neoliberalism, from the Sixties to the Reagan Revolution
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不败:约翰·韦恩在墨西哥的邦联洋基冒险与民粹主义保守主义的兴起,1860/60年代
詹姆斯评论2(2016):49-74。历史投影是记忆和历史的集合体,通过修辞、话语、手势和符号交织而成,它们与当下的意识形态和物质力量相联系。历史预测从其来源的位置上获得效力,尤其是那些将合法性作为可信信息来源的人。历史预测利用历史和记忆作为对当下的辩护,来监督占主导地位的常识。那些在历史上被边缘化的传统历史通过教育大众媒体流传下来,往往面临历史的抹去。作为表演,历史投影重新产生了传统的过去观念,并将其融入日常生活,进一步确保了主导叙事,同时包含了历史上被边缘化的人民试图挑战现有权力关系的言论。因此,历史投影是文化战争的关键地点。另见丹尼尔·A的新自由主义,从60年代到里根革命
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来源期刊
Film and History
Film and History Arts and Humanities-Visual Arts and Performing Arts
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