In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature.
At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.
The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate.
The editors and contributors to this volume are not willing to accept what is known as uneven development, where some cities win and some lose. They look at two practical consequences of urban growth: the change in residence patterns as neighborhoods gentrify, and the change in employment patterns, as factory workers lose jobs and white-collar workers gain jobs. The editors' goal is to highlight the alternatives to uneven development and to the growth ideology. They outline and advocate specific policies, including affordable housing, changes in taxation, and direct community participation in planning and zoning decisions.
Challenging Uneven Development begins with a rousing discussion of the pervasiveness of the community redevelopment ideology. The growth machine defines the language of the debate. The next group of chapters examine residence patterns--how communities have organized to fight gentrification, why residential integration is essential for good planning as well as morality, and what strategies can be used to achieve racial diversity. Another chapter emphasizes the role of lenders in regulating the flow of credit within communities. Disinvestment by credit providers causes decline, and opens the way for gentrification, which displaces local residents. The impact of taxes in stimulating the growth machine is also explained.
Later chapters move beyond gentrification issues to examine other problems of economic restructuring. They look at how blacks, Latinos, and women have been affected by the growth of service sector jobs. The final chapter serves as a strategic guide to those who wish to establish a progressive agenda for community-based economic development. The authors call for social change, not unimaginative reform.
The contributors to this volume are leaders or researchers from community organizations, civic groups, government agencies, and universities. In addition to the editors, they are Mel King, Teresa Cordova, Daniel Lauber, Jena Pogge, David Flax-Hatch, Arthur Lyons, Wendy Wintermute, Charles Hicklin, Jeffrey D. Reckinger, David Mosena, Charlotte Chun, Raymndo Flores, Luther Snow, Deborah Bennett, John Betancur, and Patricia Wright. They have presented "state-of-the-art" progressive policy solutions for urban problems.
During the 1990s, films such as sex, lies, and videotape, The Crying Game, Pulp Fiction, Good Will Hunting, and Shakespeare in Love earned substantial sums at the box office along with extensive critical acclaim. A disproportionate number of these hits came from one company: Miramax. Indie, Inc. surveys Miramax’s evolution from independent producer-distributor to studio subsidiary, chronicling how one company transformed not just the independent film world but the film and media industries more broadly. As Alisa Perren illustrates, Miramax’s activities had an impact on everything from film festival practices to marketing strategies, talent development to awards campaigning.
Case studies of key films, including The Piano, Kids, Scream, The English Patient, and Life Is Beautiful, reveal how Miramax went beyond influencing Hollywood business practices and motion picture aesthetics to shaping popular and critical discourses about cinema during the 1990s. Indie, Inc. does what other books about contemporary low-budget cinema have not—it transcends discussions of “American indies” to look at the range of Miramax-released genre films, foreign-language films, and English-language imports released over the course of the decade. The book illustrates that what both the press and scholars have typically represented as the “rise of the American independent” was in fact part of a larger reconfiguration of the media industries toward niche-oriented products.
In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself was signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality.
Such actors as Denzel Washington, Andy Garcia, Halle Berry, Angela Bassett, Will Smith, Jennifer Lopez, and Antonio Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade’s top ten films were opened by three women—Julia Roberts, Jodie Foster, and Whoopi Goldberg. “Chick flick” entered the lexicon as Leonardo DiCaprio became the “King of the World,” ushering in the cult of the mega celebrity. Tom Hanks and Tom Cruise defined screen masculinity as stark contrasts between “the regular guy” and “the intense guy” while the roles of Michael Douglas exemplified the endangered “Average White Male.” A fascinating composite portrait of 1990s Hollywood and its stars, this collection marks the changes to stardom and society at century’s end.
These wide-ranging essays reveal the various roles played by southern rabbis in the struggle for black civil rights since Reconstruction
The study of black-Jewish relations has become a hotbed of controversy, especially with regard to the role played by Jewish leaders during the Civil Rights movement. Did these leaders play a pivotal role, or did many of them, especially in the South, succumb to societal pressure and strive to be accepted rather than risk being persecuted? If some of these leaders did choose a quieter path, were their reasons valid? And were their methods successful?
Contributors. Bonnie Braendlin, Christine Caver, Thomas Doherty, Rachel Blau DePlessis, Jennifer Gillan, Stephanie Girard, Deborah Landau, Miriam Levine, Sharon O’Brien, Robert Olmstead, Juliana Spahr, Jonathan Strong
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