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Blaxploitation action narratives as well as politically radical films like Sweet Sweetback's Baadasssss Song typically portrayed black women as trifling "bitches" compared to the supermacho black male heroes. But starting in 1973, the emergence of "baad bitches" and "sassy supermamas" reversed the trend as self-assured, empowered, and tough black women took the lead in the films Cleopatra Jones, Coffy, and Foxy Brown.

Stephane Dunn unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Recognizing a distinct moment in the history of African American representation in popular cinema, Dunn analyzes how it emerged from a radical political era influenced by the Black Power movement and feminism. Dunn also engages blaxploitation's legacy in contemporary hip-hop culture, as suggested by the music’s disturbing gender politics and the "baad bitch daughters" of Foxy Brown and Cleopatra Jones, rappers Foxy Brown and Lil' Kim.

Written by one of American theater's most avid and knowledgeable proponents, "No Legs, No Jokes, No Chance" traces the American musical from its rich and varied beginnings in European opera, American minstrel shows, and vaudeville through its many permutations to its current state--from, as Sheldon Patinkin puts it, La Boheme to Rent. Minstrelsy, burlesque, revue, dance, and choreographers, the "texts" of musical theater so often overlooked by its historians, finally receive due consideration in this thorough and thoroughly entertaining book about how American musical theater came to be and developed into what it is today.

Patinkin writes about the infancy of the musical--the revues, operettas, and early musical comedies, as well as the groundbreaking shows like Oklahoma!, and Show Boat that brought the form to its "golden age" during World War II. With insightful references to how history, literature, theater, fashion, popular music, and movies influenced musical theater generally and certain shows in particular, he traces a direct lineage from older forms to contemporary musicals. The result is a broad, clear, and detailed picture of American musicals within both an aesthetic and a historical context. Patinkin conveys the pleasure of the ever-changing forms of musical theater even as he gives readers the analytical tools and terms to understand and better appreciate this uniquely American art. The book features a selection of black and white photographs from historical musical productions, and each chapter includes suggestions for materials to watch and listen to at home or in the classroom.

The concept of “un-Americanism,” so vital to the HUAC crusade of the 1940s and 1950s, was resoundingly revived in the emotional rhetoric that followed the September 11th terrorist attacks. Today’s political and cultural climate makes it more crucial than ever to come to terms with the consequences of this earlier period of repression and with the contested claims of Americanism that it generated.

            “Un-American” Hollywood  reopens the intense critical debate on the blacklist era and on the aesthetic and political work of the Hollywood Left. In a series of fresh case studies focusing on contexts of production and reception, the contributors offer exciting and original perspectives on the role of progressive politics within a capitalist media industry.

            Original essays scrutinize the work of individual practitioners, such as Robert Rossen, Joseph Losey, Jules Dassin, and Edward Dmytryk, and examine key films, including The Robe, Christ in Concrete, The House I Live In, The Lawless, The Naked City, The Prowler, Body and Soul, and FTA.

127 Years of Design: The Michigan Daily reveals the visual history of the University of Michigan's student-run newspaper The Michigan Daily’s front page. It analyzes a front page from every decade since 1890, breaking down the evolution of one of the oldest student newspapers in the country. This publication culminates in a focus on today's newspaper design by Francesca Kielb, the recent Managing Design Editor at The Michigan Daily, who completed a total redesign of the paper in celebration of the 125 year history of the publication and of the Bicentennial of The University of Michigan. The book argues that it is essential for contemporary design to look both forward and backwards--to inform our future with our past. A result of nights spent digging through archives and sifting through newspapers,  this publication addresses how print has evolved with digitization and technological advancement.
 

This screenplay of 42nd Street,  along with Rocco Fumento's thorough and engrossing introduction, takes the reader behind the scenes to see how the Warners studio took a dismal novel and, working within severe financial constraints brought on by the Great Depression, turned out a smash musical hit.
    42nd Street is a watershed film, one that resuscitated the Hollywood musical during troubled times. Yet 42nd Street wasn't merely a Depression tonic, its multiple plot line was half-comic, half-serious. It was a fast-paced, energetic, and the first musical not to shrink away from the fact that a Depression was going on. The film is an odd, and oddly successful, fusion of the real with the fantastic.

Randall Davidson provides a comprehensive history of the innovative work of Wisconsin's educational radio stations. Beginning with the first broadcast by experimental station 9XM at the University of Wisconsin, followed by WHA, through the state-owned affiliate WLBL, to the network of stations that in the years following WWII formed the Wisconsin Public Radio network, Davidson describes how, with homemade equipment and ideas developed from scratch, public radio became a tangible example of the Wisconsin Idea, bringing the educational riches of the university to all the state's residents. Marking the centennial year of Wisconsin Public Radio, this paperback edition includes a new foreword by Bill Siemering, National Public Radio's founding director of programming.