The move to encourage trade with Canada and Mexico during the 1990s, culminating with the negotiation of the North American Free Trade Agreement (NAFTA), has had a long background extending as far back as the late eighteenth century. American trade with both Canada and Latin America rapidly increased during the last third of the nineteenth century as a result of burgeoning industry and agriculture in the United States. The Diplomacy of Trade and Investment is the first detailed examination of the economic and political forces behind this rapid growth and their effect on government policy.
Based on a thorough examination of government documents, congressional debates and reports, private papers of government and business leaders, and newspapers, David M. Pletcher begins this monumental study with a comprehensive survey of U.S. trade following the Civil War. He goes on to outline the problems of building a coherent trade policy toward Canada, Mexico, Central America, the Caribbean, and South America. The study concludes by analyzing a series of abortive trade reform efforts and examining the effects of the Spanish-American War.
Pletcher rejects the long-held belief that American business and government engaged in a deliberate, consistent drive for economic hegemony in the hemisphere during the late 1800s. Instead he finds that the American government improvised and experimented with ways to further trade expansion. But American businessmen were often more interested in domestic trade than in trade with foreign markets. In fact, many of them resisted efforts to lower the American tariff or otherwise encourage American trade abroad.
The combination of traditionalist and revisionist insight with Pletcher's own deep knowledge and research provides the reader with a comprehensive new interpretation of hemispheric trade expansion at the end of the nineteenth century.
Boldly signifying the cultural issues of the 1960s and 1970s in groundbreaking pieces such as Grey Gardens, Gimme Shelter, and Showman, filmmakers and brothers David and Albert Maysles used an approach to documentary film that involved spontaneous observation of naturally occurring events. With no rehearsed footage and no preconceived plots, their revolutionary work eschewed the authoritative voice-over narrator, didactic scripts, and the traditional problem-and-solution format used by the majority of their predecessors in the genre and duly influenced subsequent directors in both fiction and nonfiction film. Their collaboration from 1962 until David’s death in 1987 wrought thirteen major works in which the brothers critiqued the concept of celebrity with unglamorous footage of iconic figures, explored how commercialism hinders communication, and questioned the possibility of seeing anything clearly in a world abounding with both real and constructed images.
Jonathan B. Vogels outlines how the Maysles brothers blended a unique amalgam of direct cinema characteristics, a modern humanist aesthetic, and a collaborative working process that included other directors and editors. Looking at the films as both shapers and reflections of American culture, he points out that the works offer insights into a wide range of contemporary topics including materialism, celebrity, modern art, and the American family. In addition to describing the changes in technology that made direct cinema possible, Vogels provides careful, scene-by-scene analyses that allow for a consideration of the Maysles brothers’ films as films, a tactic not frequently employed in nonfiction film studies.