Europäisch-amerikanisch

Examines the ways in which post-apocalyptic films express white racial anxiety.The use of Christian apocalyptic myths has changed significantly over the centuries. Initially used by genuinely disenfranchised groups, they are used today as a response to more egalitarian treatment of minorities in American society. The apocalyptic framework allows the patriarchy to frame itself as the victim who must restore America to a past where white male power went uncontested. This kind of white anxiety over increasing minority rights frequently manifests itself in contemporary apocalyptic media, which often depicts a white male hero facing a wide array of threatening "Others." Taking a unique look at the parallels between apocalypticism and American frontier mythology, as well as conspiracy theories and the post-apocalyptic obsession with repurposed objects, Whiteness at the End of the World analyzes many well-known films from the past fifty years, from Planet of the Apes to I Am Mother. It offers unique, clearly presented insights into recurring patterns that appear in an extraordinarily ubiquitous genre that has only increased in popularity, and whose themes of racial anxiety are increasingly pertinent in our increasingly contentious political climate.

"American Whitelash is indispensable. Really. It is." - Ibram X. Kendi, author of How to Be an Antiracist<BR><BR>From a Pulitzer Prize-winning journalist, a shocking investigation into the cyclical pattern of violence that has marred racial progress in America<BR><BR>In 2008, Barack Obama's historic victory was heralded as a turning point for the USA. And so it would be - just not in the way that most Americans hoped. The election of the nation's first Black president fanned long-burning embers of white supremacy, igniting a new and frightening phase in a continuous historical cycle of racial progress and white backlash.<BR><BR>In American Whitelash, Pulitzer Prize-winning journalist and bestselling author Wesley Lowery charts the return of this blood-stained trend, showing how the forces of white power retaliated against Obama's victory - and both profited from, and helped to propel, the rise of Donald Trump. Drawing on gripping first-hand reporting, he investigates four incidents of white violence since 2008: the killing of an Ecuadorian immigrant in a working-class town in Long Island, a mass shooting at a Sikh temple in Wisconsin, an attack on a Jewish Community Center in Kansas City, and the murder of Oscar Grant, the first in an unrelenting series of police shootings that would lead to the largest sustained protest movement in the US since the Civil Rights era.<BR><BR>Interweaving deep historical analysis with interviews with both victims and perpetrators of violence, Lowery uncovers how this vicious cycle is entering into ever more perilous territory, and how the country still might find a route of escape.

Argues that Irish American masculinity functioned to negotiate, consolidate, and reinforce hegemonic whiteness in Hollywood cinema from 1930 to 1960.White Cottage, White House examines how Classical Hollywood cinema developed and deployed Irish American masculinities to negotiate, consolidate, and reinforce hegemonic whiteness in midcentury America. Largely confined to discriminatory stereotypes during the silent era, Irish American male characters emerge as a favored identity with the introduction of sound, positioned in a variety of roles as mediators between the marginal and mainstream. The book argues that such characters function to express hegemonic whiteness as ethnicity, a socio-racial framing that kept immigrant origins and normative American values in productive tension. It traces key Irish American male types-the gangster, the priest, the cop, the sports hero, and the returning immigrant-who navigated these tensions in maintenance of an ethnic whiteness that was nonetheless "at home" in America, transforming from James Cagney's "public enemy" to John Wayne's "quiet man" in the process. Whether as figures of Depression-era social disruption, avatars of presidential patriarchy and national manhood, or allegories of postwar white flight and the nuclear family, Irish American masculinities occupied a distinctive and unrivaled visibility and role in popular American film.

A written monument to the Italian Canadian community of Ottawa before that memory forever dissipates into the realm of youthful forgetfulness and disregard, this study explores the history of Preston Street along with its social groups, landmarks, and the evolution of its identity.

A partir de un estudio pormenorizado de cuatro documentales considerados paradigmáticos para sus respectivos contextos, se analiza cómo el recurso a películas o vídeos domésticos, a primera vista muy personales, no solo suele ir acompañado de una lectura politizada del pasado familiar. Las películas examinadas ofrecen enfoques novedosos sobre una amplia gama de temas que van desde las secuelas de la Shoah hasta la superación de traumas personales, desde los grandes acontecimientos políticos del siglo XX hasta la micropolítica del cuerpo y del género.