{"title":"“I was Anti-Everything”: Cartoonist Jackie Ormes and the Comics as a Site of Progressive Black Journalism","authors":"H. Z. Caldwell","doi":"10.1353/ams.2020.0027","DOIUrl":"https://doi.org/10.1353/ams.2020.0027","url":null,"abstract":"","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"120 - 99"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42845050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Cartoons of Ollie Harrington, the Black Left, and the African American Press During the Jim Crow Era","authors":"J. R. Smethurst, Rachel Rubin","doi":"10.1353/ams.2020.0028","DOIUrl":"https://doi.org/10.1353/ams.2020.0028","url":null,"abstract":"","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"121 - 141"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46313427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Race Women, Crisis Maids, and NAACP Sweethearts: Gender and the Visual Culture of the NAACP in the Early Twentieth Century","authors":"S. Bragg","doi":"10.1353/ams.2020.0026","DOIUrl":"https://doi.org/10.1353/ams.2020.0026","url":null,"abstract":"","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"77 - 98"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41623157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Carefully and conscientiously we shall study the questions, which affect the race most deeply and directly. Against the convict lease system, the Jim Crow car laws, lynchings and all other barbarities which degrade us, we shall protest with such force of logic and intensity of the soul that those who oppress us will either cease to disavow the inalienability and equality of human rights, or be ashamed to openly violate the very principles upon which this government was founded. —Mary Church Terrell, “What Role is the Educated Negro Woman to Play” (1902)1
{"title":"Desire, Dispossession, and Dreams of Social Data: Black Clubwomen’s Intellectual Thought and Aesthetics During the Progressive Era in Public Writing and Print Culture","authors":"E. Richardson","doi":"10.1353/ams.2020.0024","DOIUrl":"https://doi.org/10.1353/ams.2020.0024","url":null,"abstract":"Carefully and conscientiously we shall study the questions, which affect the race most deeply and directly. Against the convict lease system, the Jim Crow car laws, lynchings and all other barbarities which degrade us, we shall protest with such force of logic and intensity of the soul that those who oppress us will either cease to disavow the inalienability and equality of human rights, or be ashamed to openly violate the very principles upon which this government was founded. —Mary Church Terrell, “What Role is the Educated Negro Woman to Play” (1902)1","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"33 - 54"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41399172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Weaponized Whiteness: The Constructions and Deconstructions of White Identity Politics by Fran Shor (review)","authors":"M. Ezra","doi":"10.1353/ams.2020.0037","DOIUrl":"https://doi.org/10.1353/ams.2020.0037","url":null,"abstract":"","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"69 - 70"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41665395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“To Help Enlighten Our People”: ‘Theater Folk’ and Stage Advice Columns in the 1920s Chicago Defender","authors":"Michelle R. Scott","doi":"10.1353/ams.2020.0025","DOIUrl":"https://doi.org/10.1353/ams.2020.0025","url":null,"abstract":"","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"59 1","pages":"55 - 76"},"PeriodicalIF":0.0,"publicationDate":"2021-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2020.0025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47774569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores a pair of postwar Hollywood films: Illegal Entry (Universal-International, 1949) and Lady Without Passport(MGM, 1950). The movies dramatize the nation's uneasy effort during this era to distinguish “refugees” from “illegal aliens.” Both revolve around upstanding US government investigators falling for gorgeous, foreign ladies who are caught up in the underworld of human smuggling. Written, filmed, and shown at a moment in which the United States was debating how and whether to legally recognize, for the first time, the special status of refugees’ claims to enter the nation, the plots of both films wrestle with the question of what such claims might mean. On the surface, both movies praise U.S. efforts at immigration control; at the same time, both also call such efforts into question in the face of migrants’ hardships. But the behind-the-scenes history of the films’ production is equally noteworthy, for it reveals the curious circuitry by which new narratives around refugees were generated at this volatile postwar moment. Drawing on archival research in Hollywood and Washington DC, I tell the story of how these films grew out of a strange collaboration between movie producers and government officials, all invested in forging “reality entertainment” that projected their vision of the US immigration regime onto the nation's silver screens.
{"title":"Hollywood, Washington, and the Making of the Refugee in Postwar Cinema","authors":"L. Garland","doi":"10.1353/ams.2021.0004","DOIUrl":"https://doi.org/10.1353/ams.2021.0004","url":null,"abstract":"This article explores a pair of postwar Hollywood films: Illegal Entry (Universal-International, 1949) and Lady Without Passport(MGM, 1950). The movies dramatize the nation's uneasy effort during this era to distinguish “refugees” from “illegal aliens.” Both revolve around upstanding US government investigators falling for gorgeous, foreign ladies who are caught up in the underworld of human smuggling. Written, filmed, and shown at a moment in which the United States was debating how and whether to legally recognize, for the first time, the special status of refugees’ claims to enter the nation, the plots of both films wrestle with the question of what such claims might mean. On the surface, both movies praise U.S. efforts at immigration control; at the same time, both also call such efforts into question in the face of migrants’ hardships. But the behind-the-scenes history of the films’ production is equally noteworthy, for it reveals the curious circuitry by which new narratives around refugees were generated at this volatile postwar moment. Drawing on archival research in Hollywood and Washington DC, I tell the story of how these films grew out of a strange collaboration between movie producers and government officials, all invested in forging “reality entertainment” that projected their vision of the US immigration regime onto the nation's silver screens.","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"60 1","pages":"108 - 81"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2021.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46738780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Combining methods from TV studies, ethnic studies/American studies, and critical geography, this essay analyzes the contradictory relationship between setting and location in three streaming shows: Watchmen, Los Espookys, and Vida. Foregrounding state programs to attract media makers that redistribute wealth upward, from poor people of color to Hollywood, I analyze how TV production intervenes in the politics of place, making visible histories of white supremacy and racial inequality, as well as the popular movements that oppose them.
{"title":"Precarious Locations: Streaming TV and Global Inequalities","authors":"C. Marez","doi":"10.1353/ams.2021.0001","DOIUrl":"https://doi.org/10.1353/ams.2021.0001","url":null,"abstract":"Combining methods from TV studies, ethnic studies/American studies, and critical geography, this essay analyzes the contradictory relationship between setting and location in three streaming shows: Watchmen, Los Espookys, and Vida. Foregrounding state programs to attract media makers that redistribute wealth upward, from poor people of color to Hollywood, I analyze how TV production intervenes in the politics of place, making visible histories of white supremacy and racial inequality, as well as the popular movements that oppose them.","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"60 1","pages":"31 - 9"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2021.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47561301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Cry of Jazz, a “thesis film” from 1959 directed by Edward O. Bland, is a long-neglected landmark in black independent cinema recognized today not for its theories about jazz but for its contentious racial politics. Bland, however, was a composer and music arranger, not a professional filmmaker, and the astringency of his film’s racial claims emerges from a particular theoretical approach to the formal structures of jazz music and their historical evolution. This article explores the relationship between musical form and racial identity as presented in The Cry of Jazz. Emphatically insisting on the music as an African American mode of expression, the film develops a critical musicology of jazz that effectively transposes Frankfurt School-like social claims about capitalist dehumanization to American conditions of racial domination. In doing so, however, Bland also argues that any further advance of African American musical culture depends on a sharp break with jazz traditions as well as the destruction of the ghetto. The result is not only a more uncompromising contribution to 1960s-era black cultural radicalism than is typically recognized but also a distinctive reformulation of the Afro-modernist aesthetic. By linking racial change in Jim Crow America to an aesthetic fusion of avant-garde classical and African American vernacular styles, The Cry of Jazz puts forward a high-modernist, composer-centered conception of black art music as cultural emancipation.
{"title":"Beyond the ‘Futureless Future’: Edward O. Bland, Afro-Modernism and The Cry of Jazz","authors":"William Sites","doi":"10.1353/ams.2021.0002","DOIUrl":"https://doi.org/10.1353/ams.2021.0002","url":null,"abstract":"The Cry of Jazz, a “thesis film” from 1959 directed by Edward O. Bland, is a long-neglected landmark in black independent cinema recognized today not for its theories about jazz but for its contentious racial politics. Bland, however, was a composer and music arranger, not a professional filmmaker, and the astringency of his film’s racial claims emerges from a particular theoretical approach to the formal structures of jazz music and their historical evolution. This article explores the relationship between musical form and racial identity as presented in The Cry of Jazz. Emphatically insisting on the music as an African American mode of expression, the film develops a critical musicology of jazz that effectively transposes Frankfurt School-like social claims about capitalist dehumanization to American conditions of racial domination. In doing so, however, Bland also argues that any further advance of African American musical culture depends on a sharp break with jazz traditions as well as the destruction of the ghetto. The result is not only a more uncompromising contribution to 1960s-era black cultural radicalism than is typically recognized but also a distinctive reformulation of the Afro-modernist aesthetic. By linking racial change in Jim Crow America to an aesthetic fusion of avant-garde classical and African American vernacular styles, The Cry of Jazz puts forward a high-modernist, composer-centered conception of black art music as cultural emancipation.","PeriodicalId":80435,"journal":{"name":"American studies (Lawrence, Kan.)","volume":"60 1","pages":"33 - 57"},"PeriodicalIF":0.0,"publicationDate":"2021-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ams.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48107906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：