A SCHOLARLY BOOK REPOSITORY
At the same time, American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Among the challenges faced by the film industry was the dawning shift in theatrical exhibition from urban centers to surburban multiplexes, an increase in runaway productions, the rise of independent producers, and competition from both television and foreign art films. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time.
In ten original essays, American Cinema of the 1960s examines a range of films that characterized the decade, including Hollywood movies, documentaries, and independent and experimental films. Among the films discussed are Elmer Gantry, The Apartment, West Side Story, The Manchurian Candidate, To Kill a Mockingbird, Cape Fear, Bonnie and Clyde, 2001: A Space Odyssey, Midnight Cowboy, and Easy Rider.
André Leroi-Gourhan is undoubtedly one of the most acclaimed figures of twentieth-century anthropology and archaeology. In France, his intellectual importance rivals that of the Claude Lévi-Strauss, yet Leroi-Gourhan’s major contributions are almost entirely unknown in the Anglophone world. This collection seeks to change that. This selection highlights some of his chief influences, such as elaborating a theory of technology, which argues that material culture focuses on the object in use and how use is a dynamic feature that has specific consequences for human evolution and human society. With serious ramifications for our understanding of material culture, putting Leroi-Gourhan’s thinking about technology into English will have an immediate and transformative impact on material culture studies.
Wolf investigates the underground culture of poets, artists, and filmmakers who interacted with Warhol regularly. She claims that Warhol understood the literary imagination of his generation and that recognizing Warhol's literary activities is essential to understanding his art. Drawing on a wealth of unpublished material, including interviews, personal and public archives, tape recordings, documentary photographs, and works of art, Wolf offers dramatic evidence that Warhol's interactions with writers functioned like an extended conversation and details how this process impacted his work. This highly original and fascinating study gives us fresh insight into Warhol's art as practice and reformulates the myth that surrounds this popular American artist.
In the mid-twentieth century colleges' concerns about finances and enrollments, as well as ideological pressures to integrate formerly separate social groups, led men's colleges, and some women's colleges, to become coeducational. The admission of women to practically all men's colleges created a serious challenge for women's colleges. Most people no longer believed women's colleges were necessary since women had virtually unlimited access to higher education. Even though research spawned by the women's movement indicated the benefits to women of a "room of their own," few young women remained interested in applying to women's colleges.
Challenged by Coeducation details the responses of women's colleges to this latest wave of coeducation. Case studies written expressly for this volume include many types of women's colleges-Catholic and secular; Seven Sisters and less prestigious; private and state; liberal arts and more applied; northern, southern, and western; urban and rural; independent and coordinated with a coeducational institution. They demonstrate the principal ways women's colleges have adapted to the new coeducational era: some have been taken over or closed, but most have changed by admitting men and thereby becoming coeducational, or by offering new programs to different populations. Some women's colleges, mostly those that are in cities, connected to other colleges, and prestigious with a high endowment, still enjoy success.
Despite their dramatic drop in numbers, from 250 to fewer than 60 today, women's colleges are still important, editors Miller-Bernal and Poulson argue. With their commitment to enhancing women's lives, women's colleges and formerly women's colleges can serve as models of egalitarian coeducation.
Is today’s left really new? How has the European radical left evolved?
Giorgos Charalambous answers these questions by looking at three moments of rapid political change - the late 1960s to late 1970s; the turn of the millennium; and post-2008. He challenges the conventional understanding of a ‘new left’, drawing out continuities with earlier movements and parties.
Charalambous examines the ‘Long ‘68’, symbolised by the May uprisings in France, which saw the rise of new left forces and the widespread criticism by younger radical activists of traditional communist and socialist parties. He puts this side by side with the turn of the millennium when the Global Justice Movement rose to prominence and changed the face of the international left, and also the period after the financial crash of 2008 and the rise of anti-austerity politics which initiated the most recent wave of new left parties such as Podemos in Spain and Syriza in Greece.
With a unique ‘two-level’ perspective, Charalambous approaches the left through both social movements and party politics, looking at identities, rhetoric and organization, and bringing a fresh new approach to radical history, as well as assessing challenges for both activists and scholars.
An innovative look at the contribution of montage to twentieth-century architecture—now in paperback
Graphic Assembly unearths the role played by montage and collage in the development of architectural culture over the past century, revealing their unexamined yet crucial significance. Craig Buckley brings together experimental architectural practices based in London, Paris, Vienna, and Florence, showing how breakthroughs in optical media and printing technologies enabled avant-garde architects to reimagine their field.
Graphic Assembly considers a range of architects and movements from the 1950s through the early ’70s, including Theo Crosby, Hans Hollein, and John McHale; the magazine Clip-Kit; and the groups Archigram, Superstudio, and Utopie. It gives a thorough account of how montage concepts informed the design of buildings, prototypes, models, exhibitions, and multimedia environments, accompanied by Buckley’s insightful interpretations of the iconic images, exhibitions, and buildings of the 1960s that mark how the decade is remembered.
Richly illustrated with never-before-published material from more than a dozen archives and private collections, Graphic Assembly offers a comparative overview of the network of experimental architectural practice in Europe. It provides a deep historical account of the cut-and-paste techniques now prevalent with architecture’s digital turn, demonstrating the great importance of montage to architecture past, present, and future.
Personal Travelogue with dates, ride lists, and commentary about the hitchhiking culture of the era.
Was the first white European blues singer an Irish woman? What links The Rolling Stones to the birth of the Northern Ireland civil rights movement? Did the state suppress the work of a key countercultural director because his film was shot in Belfast in 1965?
This book provides the answers in an engaging and dynamic reconsideration of Belfast’s long-ignored contributions to the popular music and cultural politics of the 1960s. In an expansive socio-cultural history, Noel McLaughlin and Joanna Braniff explore how popular music engaged with and influenced the global cultural and political currents of the decade.
The popular history of Northern Ireland has been overshadowed by the violence of the Troubles. But How Belfast Got the Blues offers a corrective, reconsidering the period before 1969 and arguing that popular music in Northern Ireland was central to the politics of the time, in ways not previously understood or explored. In addition to big names like Van Morrison and Rory Gallagher, the authors highlight lesser-known artists—notably Ottilie Patterson, Ireland's first blues singer—and restore them to music history. By intertwining politics, culture, and key personalities, the authors reexamine this radical decade and the complex but essential relationship between music and identity in a place where it could mean the difference between life and death.
In and Out of Phase is the first sustained look at the creative interactions between artists and musicians of this era, looking at four pairs of creators who used process-oriented ideas and techniques in their music and art: Dan Flavin and La Monte Young; Sol LeWitt and Milton Babbitt; Richard Serra and Steve Reich; and Bruce Nauman and Meredith Monk. Maizels uncovers not just the social and intellectual connections between these two groups of creators, but illuminates how the focus on repetitive actions, pattern and process, and an emphasis on “surface” created mutual influence—and stylistic change—between music and art during this period. The book’s concluding chapter briefly addresses the enduring influence of the innovations of the 1960s on more recent works.
How the classic aesthetic of 1960s pulp comics influenced art, culture, and politics.
As a form of visual art, comic books rely on a distinct and eye-catching aesthetic. This is especially true of the iconic comics, graphic novels, and illustrations of the 1960s and 1970s. The Look of the 1960s explores the sources of inspiration that influenced the world of comics, beginning with the well-known French comics series Barbarella.
Noted comics scholars Jan Baetens and Hugo Frey analyze the impacts of the often-provocative images featured in the comics of the 1960s, which pushed back against French censorship in a politically tense time, and detail how women resisted their objectification in the comic book industry. Barbarella left its mark on the world and gained international attention, inspiring a movie adaptation and changing the look and content of other popular comics. The “Pulp Pop” movement remains relevant today, continuing to influence the art and political world. With new information about artists and an astute analysis of sociopolitical influence, The Look of the 1960s offers deep insights, making it a must read for comics fans all over the world.
The 1950s through the early 1970s are widely seen as American academia’s golden age, when universities—well-funded and viewed as essential for national security, economic growth, and social mobility—embraced an egalitarian mission. Swelling in size, schools attracted new types of students and professors, including radicals who challenged their institutions’ calcified traditions. But that halcyon moment soon came to a painful and confusing end, with consequences that still afflict the halls of ivy. In The Lost Promise, Ellen Schrecker—our foremost historian of both the McCarthy era and the modern American university—delivers a far-reaching examination of how and why it happened.
Schrecker illuminates how US universities’ explosive growth intersected with the turmoil of the 1960s, fomenting an unprecedented crisis where dissent over racial inequality and the Vietnam War erupted into direct action. Torn by internal power struggles and demonized by conservative voices, higher education never fully recovered, resulting in decades of underfunding and today’s woefully inequitable system. As Schrecker’s magisterial history makes blazingly clear, the complex blend of troubles that disrupted the university in that pivotal period haunts the ivory tower to this day.
In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day.
Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varon
Since the 1960s, American liberalism and the Democratic Party have been remade along professional class lines, widening liberalism’s impact but narrowing its social and political vision. In Mastery and Drift, historians Brent Cebul and Lily Geismer have assembled a group of scholars to address the formation of “professional-class liberalism” and its central role in remaking electoral politics and the practice of governance. Across subjects as varied as philanthropy, consulting, health care, welfare, race, immigration, economics, and foreign conflicts, the authors examine not only the gaps between liberals’ egalitarian aspirations and their approaches to policymaking but also how the intricacies of contemporary governance have tended to bolster professional-class liberals’ power.
The contributors to Mastery and Drift all came of age amid the development of professional-class liberalism, giving them distinctive and important perspectives in understanding its internal limitations and its relationship to neoliberalism and the Right. With never-ending disputes over the meaning of liberalism, the content of its governance, and its relationship to a resurgent Left, now is the time to consider modern liberalism’s place in contemporary American life.
Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson
American culture changed radically over the course of the 1960s, and the culture of Hollywood was no exception. The film industry began the decade confidently churning out epic spectacles and lavish musicals, but became flummoxed as new aesthetics and modes of production emerged, and low-budget youth pictures like Easy Rider became commercial hits.
New Constellations: Movie Stars of the 1960s tells the story of the final glory days of the studio system and changing conceptions of stardom, considering such Hollywood icons as Elizabeth Taylor and Paul Newman alongside such hallmarks of youth culture as Mia Farrow and Dustin Hoffman. Others, like Sidney Poitier and Peter Sellers, took advantage of the developing independent and international film markets to craft truly groundbreaking screen personae. And some were simply “famous for being famous,” with celebrities like Zsa Zsa Gabor and Edie Sedgwick paving the way for today’s reality stars.
It is a powerful story: the relationship between the 1960s New Left and organized labor was summed up by hardhats confronting students and others over US involvement in Vietnam. But the real story goes beyond the "Love It or Leave It" signs and melees involving blue-collar types attacking protesters.
Peter B. Levy challenges these images by exploring the complex relationship between the two groups. Early in the 1960s, the New Left and labor had cooperated to fight for civil rights and anti-poverty programs. But diverging opinions on the Vietnam War created a schism that divided these one-time allies. Levy shows how the war, combined with the emergence of the black power movement and the blossoming of the counterculture, drove a permanent wedge between the two sides and produced the polarization that remains to this day.
Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.
This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.
Uncovering the Black Power movement’s contributions to theorizing the politics of automation
On the Eve of the Cybercultural Revolution offers a comprehensive look at the Black Power movement’s theoretical work and insights into the entanglement of capitalism, technology, and racism. Drawing upon James and Grace Lee Boggs’s expanded notion of the cybercultural era, Brian Bartell demonstrates how a range of artists, writers, and activists from the 1960s prefigured the wider discourse around automation and made it a central concern of their politics.
Rather than reducing automation to an isolated technical phenomenon, theorists of the Black radical tradition identified its important historical antecedents in colonialism and plantation slavery, emphasizing how the emerging cyberculture joined with issues such as the reorganization of labor, ecological harm, and racial inequality. Examining the work of Martin Luther King Jr., Noah Purifoy, the Black Panthers, and others, On the Eve of the Cybercultural Revolution outlines the new forms of social reproduction conceived outside of the dominant structures of racial capitalism.
Bartell synthesizes a wide range of source texts, including political speeches, literature, and activist archives, to show how the Black Power movement sought to create a postscarcity, more-than-capitalist economy. By shedding light on the movement’s underexplored engagement with theories of technology, he provides a crucial key to understanding the historical dynamics responsible for our technocapitalist present.
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The decade of the 1960s was a time of passionate politics and resounding rhetoric. The “resounding rhetoric,” from Kennedy’s celebrated inaugural address, to the outlandish antics of the Yippies, is the focus of this book. The importance of this volume is its consideration of both people in power (presidents) and people out of power (protesters), and its delineation of the different rhetorical bases that each had to work from in participating in the politics of the 1960s.
Presidents and Protesters places rhetorical acts within their specific political contexts, changing the direction of previous rhetorical studies from the sociological to the historical-political. Above all, this is an intellectual history of the 1960s as seen through the rhetoric of the participants, which ultimately shows that the major participants utilized every form of political discourse available and, consequently, exhausted not only themselves but the rhetorical forms as well.
The 1960s was a pivotal decade in dance, an era of intense experimentation and rich invention. In this volume an impressive range of dance critics and scholars examine the pioneering choreographers and companies of the era, such as Anna Halprin’s West Coast experiments, the innovative Judson Dance Theater, avant-garde dance subcultures in New York, the work of Meredith Monk and Kenneth King, and parallel movements in Britain. The contributors include Janice Ross, Leslie Satin, Noël Carroll, Gus Solomons jr., Deborah Jowitt, Stephanie Jordan, Joan Acocella, and Sally Banes.
In South of Pico Kellie Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism. Emphasizing the importance of African American migration, as well as L.A.'s housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, L.A.'s urban renewal, and restrictions on black mobility. Jones characterizes their works as modern migration narratives that look to the past to consider real and imagined futures. She also attends to these artists' relationships with gallery and museum culture and the establishment of black-owned arts spaces. With South of Pico, Jones expands the understanding of the histories of black arts and creativity in Los Angeles and beyond.
A first of its kind history, To Advance the Race is an enlightening look at African American women and their multi-generational commitment to the ideal of education as a collective achievement.
Earl H. Tilford details the origins of the student movement from within the Student Government Association, whose leaders included Ralph Knowles and future governor Don Siegelman, among others; the participation of key members of “The Machine,” the political faction made up of the powerful fraternities and sororities on campus; and the efforts of more radical non-Greek students like Jack Drake, Ed Still, and Sondra Nesmith. Tilford also details the political maneuverings that drove the cause of social change through multiple administrations at the university. Turning the Tide highlights the contributions of university presidents Frank A. Rose and David Mathews, as well as administrators like the dean of men John L. Blackburn, who supported the student leaders but also encouraged them to work within the system rather than against it.
Based on archival research, interviews with many of the principal participants, and the author’s personal experiences, Tilford’s Turning the Tide is a compelling portrait of a university in transition during the turbulence surrounding the civil rights and anti-war movements of the 1960s.
Women Strike for Peace began on November 1, 1961, when thousands of white, middle-class women walked out of their kitchens and off their jobs in a one-day protest against Soviet and American nuclear policies. The protest led to a national organization of women who fought against nuclear arms and U.S. intervention in Vietnam. While maintaining traditional maternal and feminine roles, members of WSP effectively challenged national policies—defeating a proposal for a NATO nuclear fleet, withstanding an investigation by the House Committee on Un-American Activities, and sending one of its leaders to Congress as a peace candidate.
As a study of a dissident group grounded in prescribed female culture, and the struggle of its members to avoid being trapped within that culture, this book adds a crucial new dimension to women's studies. In addition, this account of WSP's success as a grass roots, nonhierarchical movement will be of great interest to historians, political scientists, and anyone interested in peace studies or conflict resolution.
"Swerdlow has re-created a unique piece of American political history, a chapter of the international peace movement, and an origin of the modern feminist movement. No historian, activist, or self-respecting woman should be without Women Strike for Peace. It shows not only how one group of women created change, but also how they inevitably changed themselves."—Gloria Steinem
Retrospectives of the 1960s routinely include the face of youth rebellion: long-haired students occupying campus buildings, young men burning draft cards, hippies dancing at Woodstock. In Younger Than That Now, Holly V. Scott explores how the idea of “youth” served as a tactic in the political and social activism of these years. In the early part of that decade, young white activists began to learn from the civil rights movement's defiance of racism. They examined their own lives and concluded that campus rules and the draft were repression as well. As a group, they were ripe for revolution, and their age gave them a unique perspective for understanding and protesting against injustice. In short, young people began to use their youth as a political strategy.
Some in the New Left were dubious of this strategy and asked how it might damage long-term progress. Young feminists and people of color were particularly quick to question the idea that age alone was enough to sustain a movement. And the media often presented young people as impulsive and naive, undermining their political legitimacy. In tracing how “youth” took on multiple meanings as the 1960s progressed, Scott demonstrates the power of this idea to both promote and hinder social change.
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