Minggu, 07 September 2014

** Ebook Download The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975, by Pamela Robertson Wojcik

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The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975, by Pamela Robertson Wojcik

The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975, by Pamela Robertson Wojcik



The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975, by Pamela Robertson Wojcik

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The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975, by Pamela Robertson Wojcik

Rethinking the significance of films including Pillow Talk, Rear Window, and The Seven Year Itch, Pamela Robertson Wojcik examines the popularity of the “apartment plot,” her term for stories in which the apartment functions as a central narrative device. From the baby boom years into the 1970s, the apartment plot was not only key to films; it also surfaced in TV shows, Broadway plays, literature, and comic strips, from The Honeymooners and The Mary Tyler Moore Show to Subways are for Sleeping and Apartment 3-G. By identifying the apartment plot as a film genre, Wojcik reveals affinities between movies generally viewed as belonging to such distinct genres as film noir, romantic comedy, and melodrama. She analyzes the apartment plot as part of a mid-twentieth-century urban discourse, showing how it offers a vision of home centered on values of community, visibility, contact, mobility, impermanence, and porousness that contrasts with views of home as private, stable, and family-based. Wojcik suggests that the apartment plot presents a philosophy of urbanism related to the theories of Jane Jacobs and Henri Lefebvre. Urban apartments were important spaces for negotiating gender, sexuality, race, and class in mid-twentieth-century America.

  • Sales Rank: #2139216 in Books
  • Brand: Brand: Duke University Press Books
  • Published on: 2010-11-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x 1.00" w x 6.10" l, 1.30 pounds
  • Binding: Paperback
  • 328 pages
Features
  • Used Book in Good Condition

Review
“Wojcik’s insightful analysis, supported by thorough research, contrasts privacy and community, sight and sound, urban and suburban, married and single life, white and African American neighborhoods, and upper- and lower-class milieus. . . . Recommended. Upper-division undergraduates and above.” - S. R. Kozloff, Choice

“With her volume Wojcik deftly connects the apartment plot to social history.
She also offers dozens of close readings of films—readings that often
contradict (or at the very least complicate) conventional wisdom about those
films. . . . Wojcik offers an almost encyclopedic account of apartment-centered films, such that any postwar film and media scholar will find Wojcik’s careful analysis useful.” - Kathy M. Newman, American Quarterly

“Pamela Robertson Wojcik's intriguing book takes an original approach to Hollywood cinema. Her subject is the apartment as setting, which, in films of the post-war decades, she claims, became a space where ‘a philosophy of urbanism’ could be dramatized ‘at a time when the meaning and status of urban living were undergoing a sea change.’ Wojcik argues persuasively that the ‘apartment plot’ imbues films with recurrent themes that transcend genre and director.” - Alexander Jacoby, Times Literary Supplement

“Exhaustively researched and brimming with insightful observations, The Apartment Plot is a gift for those intent on studying the architecture that amps the plotline.” - Michael Dalton, M/C Reviews

“Wojcik . . .succeeds in demonstrating the value of focusing on the apartment, and mise-en-scène more generally, as a heuristic device. Doing so enables her to explore continuities between an otherwise diverse body of films, revealing how cinema both represents and participates in the production of discourses about urban architectures and experiences. As such, the volume makes a valuable contribution to our understandings of the relations among cinematic representations, architecture, and everyday life.” - Hilary Radner, Journal of American History

“Working with an admirably wide range of additional materials, including periodical and advice literature, advertising, fiction, television, music, building blueprints, and comics . . . Wojcik balances her many disciplines carefully. The book’s overall argument for the ‘apartment story’ as a distinct and important genre, and Wojcik’s embedding of her case studies in migration trends, cultural and social concerns, and shifting ideas about the city and its alternatives is a fresh and convincing addition to studies of postwar media.” - Miriam G. Reumann, The Sixties

“The Apartment Plot is an imaginative, thoroughly researched, closely observed, accomplished interdisciplinary work on the mid-century ‘apartment plot’ in American film and, to a lesser but important degree, TV, design, print, and sociology. It is a lively and engaging book that both breaks new ground and renovates existing critical edifices.”—Patricia White, co-author of The Film Experience: An Introduction

“Exhaustively researched and brimming with insightful observations, The Apartment Plot is a gift for those intent on studying the architecture that amps the plotline.” (Michael Dalton, M/C Reviews)

“Pamela Robertson Wojcik's intriguing book takes an original approach to Hollywood cinema. Her subject is the apartment as setting, which, in films of the post-war decades, she claims, became a space where ‘a philosophy of urbanism’ could be dramatized ‘at a time when the meaning and status of urban living were undergoing a sea change.’ Wojcik argues persuasively that the ‘apartment plot’ imbues films with recurrent themes that transcend genre and director.” (Alexander Jacoby, Times Literary Supplement)

“With her volume Wojcik deftly connects the apartment plot to social history.
She also offers dozens of close readings of films—readings that often
contradict (or at the very least complicate) conventional wisdom about those
films. . . . Wojcik offers an almost encyclopedic account of apartment-centered films, such that any postwar film and media scholar will find Wojcik’s careful analysis useful.” (Kathy M. Newman, American Quarterly)

“Wojcik . . .succeeds in demonstrating the value of focusing on the apartment, and mise-en-scène more generally, as a heuristic device. Doing so enables her to explore continuities between an otherwise diverse body of films, revealing how cinema both represents and participates in the production of discourses about urban architectures and experiences. As such, the volume makes a valuable contribution to our understandings of the relations among cinematic representations, architecture, and everyday life.” (Hilary Radner, Journal of American History)

“Wojcik’s insightful analysis, supported by thorough research, contrasts privacy and community, sight and sound, urban and suburban, married and single life, white and African American neighborhoods, and upper- and lower-class milieus. . . . Recommended. Upper-division undergraduates and above.” (S. R. Kozloff, Choice)

“Working with an admirably wide range of additional materials, including periodical and advice literature, advertising, fiction, television, music, building blueprints, and comics . . . Wojcik balances her many disciplines carefully. The book’s overall argument for the ‘apartment story’ as a distinct and important genre, and Wojcik’s embedding of her case studies in migration trends, cultural and social concerns, and shifting ideas about the city and its alternatives is a fresh and convincing addition to studies of postwar media.” (Miriam G. Reumann, The Sixties)

From the Back Cover
""The Apartment Plot" is an imaginative, thoroughly researched, closely observed, accomplished interdisciplinary work on the midcentury 'apartment plot' in American film and, to a lesser but important degree, TV, design, print, and sociology. It is a lively and engaging book that both breaks new ground and renovates existing critical edifices."--Patricia White, co-author of "The Film Experience: An Introduction"

About the Author

Pamela Robertson Wojcik is Associate Professor in the Department of Film, Television, and Theater and Director of the Gender Studies Program at the University of Notre Dame. She is the author of Guilty Pleasures: Feminist Camp from Mae West to Madonna, also published by Duke University Press, and the editor of Movie Acting: The Film Reader.

Most helpful customer reviews

0 of 2 people found the following review helpful.
About urban fantasy, or what I call a philosophy of urbanism
By ROROTOKO
"The Apartment Plot" is on the ROROTOKO list of cutting-edge intellectual nonfiction. The book interview of Professor Wojcik ran here as the cover feature on November 8, 2010.

See all 1 customer reviews...

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Jumat, 05 September 2014

# PDF Ebook Hans Staden's True History: An Account of Cannibal Captivity in Brazil, by Hans Staden, Neil Whitehead

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Hans Staden's True History: An Account of Cannibal Captivity in Brazil, by Hans Staden, Neil Whitehead

In 1550 the German adventurer Hans Staden was serving as a gunner in a Portuguese fort on the Brazilian coast. While out hunting, he was captured by the Tupinambá, an indigenous people who had a reputation for engaging in ritual cannibalism and who, as allies of the French, were hostile to the Portuguese. Staden’s True History, first published in Germany in 1557, tells the story of his nine months among the Tupi Indians. It is a dramatic first-person account of his capture, captivity, and eventual escape.

Staden’s narrative is a foundational text in the history and European “discovery” of Brazil, the earliest European account of the Tupi Indians, and a touchstone in the debates on cannibalism. Yet the last English-language edition of Staden’s True History was published in 1929. This new critical edition features a new translation from the sixteenth-century German along with annotations and an extensive introduction. It restores to the text the fifty-six woodcut illustrations of Staden’s adventures and final escape that appeared in the original 1557 edition.

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Kamis, 04 September 2014

* Fee Download Tell Tchaikovsky the News: Rock ’n’ Roll, the Labor Question, and the Musicians’ Union, 1942–1968, by Michael Jame

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Tell Tchaikovsky the News: Rock ’n’ Roll, the Labor Question, and the Musicians’ Union, 1942–1968, by Michael Jame

For two decades after rock music emerged in the 1940s, the American Federation of Musicians (AFM), the oldest and largest labor union representing professional musicians in the United States and Canada, refused to recognize rock 'n' roll as legitimate music or its performers as skilled musicians. The AFM never actively organized rock 'n' roll musicians, although recruiting them would have been in the union's economic interest. In Tell Tchaikovsky the News, Michael James Roberts argues that the reasons that the union failed to act in its own interest lay in its culture, in the opinions of its leadership and elite rank-and-file members. Explaining the bias of union members—most of whom were classical or jazz music performers—against rock music and musicians, Roberts addresses issues of race and class, questions of what qualified someone as a skilled or professional musician, and the threat that records, central to rock 'n' roll, posed to AFM members, who had long privileged live performances. Roberts contends that by rejecting rock 'n' rollers for two decades, the once formidable American Federation of Musicians lost their clout within the music industry.

  • Sales Rank: #1050614 in Books
  • Published on: 2014-03-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 6.00" w x .75" l, .0 pounds
  • Binding: Paperback
  • 280 pages

Review
"In this book Michael James Roberts has succeeded in breaking down the categories of labor studies and aesthetics. Not only has he written a superb account of how the Musicians Union lost its bargaining power with the record industry. He shows that its refusal to recognize the musical value of popular music of the past forty years led to its narrowing and ultimate reduction of influence over the most vital section of the music industry. The book is vividly written, conceptually strong and instructive about the growing complexity of labor relations in the entertainment industry." (Stanley Aronowitz, author of Taking It Big: C. Wright Mills and the Making of Political Intellectuals)

"In this lively study of the remarkable victories and disheartening failures of the American Federation of Musicians, Michael James Roberts presents a strong case that union culture played a central role in the decline of the U.S. labor movement. Focusing on the union's dismissal of rock 'n' roll, Tell Tchaikovsky the News explores how class cleavages—conflicts over what count as culture, taste, talent, skill, and proper expressions of working-class resistance—undermined solidarity among workers. This wonderfully engaging analysis of the class textures of popular music and the cultural politics of the labor movement is a must-read." (Kathi Weeks, author of The Problem with Work: Feminism, Marxism, Antiwork Politics, and Postwork Imaginaries)

"Both a compelling labor history . . . and a music history . . . Roberts supplies fascinating views into struggles within the AFM over a developing music industry and about a music revolution." (R.A. Batch Choice)

"Michael James Roberts outlines the American Federation of Musicians’ systematic marginalization of rock and roll musicians in the 1950s and 1960s largely due to advancing recording technologies, shifting recording industries, morphing U.S. labor laws, and an idiomatic elitism." (Kathryn Metz ARSC Journal)

"A good look at rock music’s impact and power in its earliest phases." (Kenneth Bindas Journal of American History)

“Roberts … has produced a work that offers many insights. … [I]t provides an excellent interdisciplinary approach to the subject at hand and comes with a comprehensive bibliography that a wide array of readers will relish.” (Michael T. Bertrand Register of the Kentucky Historical Society)

“Music history buffs this book, by Michael James Roberts, is for you. … Roberts has written an interesting, well researched work that in retrospect is quite surprising to the average music listener.” (Leanne Weymans M/C Reviews)

“Surpassing a simple account of class domination, working class resistance, or binary conflict, Tell Tchaikovsky the News weaves a historically rich tale of contradiction, cultural and economic intersection, and unexpected turns.”

(William G. Roy American Journal of Sociology)

About the Author

Michael James Roberts is Associate Professor of Sociology at San Diego State University.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Music's labor aristocracy
By Ryan M. Moore
This superb book examines considers the conflicted relationships between the musicians’ unions and rock ‘n’ roll. Roberts shows how the American Federation of Musicians (AFM) ultimately undermined itself by attempting to exclude popular musicians and emerging forms of popular music between the 1940s and the 1960s. During World War II, the AFM had been in an unparalleled position of strength as it maintained a ban on recording music, which threatened to displace live musicians who played jazz or classical music. Yet the AFM was founded as a craft union with an exclusionary attitude of the sort that Lenin once derided as a “labor aristocracy.” Invoking aesthetic arguments about the superiority of their musical skills, the AFM aggressively excluded popular musicians in ways that betrayed interrelated prejudices of class and race.

The history of the musicians’ union and its response to radio and recording is presented in the introduction and first chapter, which are exhaustively researched. In my view, the best part of the book is the chapter 2, which offers the best class-based analysis of rhythm & blues and rock ‘n’ roll I have read since George Lipsitz’s A Rainbow at Midnight. Like Lipsitz, Roberts situates these musical developments within the class conflicts of post-war America, and he begins by emphasizing the unique “jump blues” style of Louis Jordan. The class conflicts of this time were expressed in music through affirmations of leisure and resistance to work, as millions of black and white Americans had migrated to industrial cities during and after World War II. Roberts demonstrates that resistance to the work ethic also animated the rockabilly of Carl Perkins, Johnny Cash, and Elvis Presley as well as honky-tonk musicians like Hank Williams. This chapter incorporates style as well as music, offering a fine analysis of zoot suits and the racist riots they provoked. As his analysis eventually evolves from rhythm & blues to rock ‘n’ roll, Roberts offers an illuminating perspective on the significance of musicians like Wynonie Harris, T-Bone Walker, Little Richard, Fats Domino, and Jerry Lee Lewis. He is especially good at demonstrating how Richard, Domino, and Lewis embodied resistance to bourgeois norms in their transgressive use of the piano. Chapter 2 ends with a fine discussion of Chuck Berry and the proto-feminism of Wanda Jackson.

Chapters 3 and 4 return to the book’s focus on the AFM and its response to these emerging forms of popular music. Ironically, bebop musicians who had once been shunned by the establishment, including Dizzy Gillespie and Charles Mingus, were among those who led the charge against rhythm & blues and rock ‘n’ roll. By 1964, the union was undertaking a hopeless and ultimately suicidal campaign to try to block the Beatles from coming to the United States. This campaign failed miserably, but they did manage to ban the Kinks from the U.S. from 1965 to 1969 following a scuffle between Ray Davies and a union representative at the Cow Palace in San Francisco. In a sense, the efforts to ban the British Invasion bands paralleled a larger conflict which erupted during the 1960s between conservative elements of the working-class and the hippie counterculture. The inability to find common ground ultimately led to the undoing of the labor movement. Cultural conservatives in the working-class turned to the Republican Party, who proceeded to reverse their achievements and dismantle their power in the ensuing decades. In sum, Tell Tchaikovsky the News is not simply a history of the musicians’ union but a microcosm of the labor movement’s demise.

1 of 2 people found the following review helpful.
great history on labor, culture, and rock'n'roll
By randalman
For once-upon-a-punks like me, the clash between corporate culture and rock‘n’roll crested in December 1977 with Elvis Costello’s Saturday Night Live appearance, when his band launched into the acerbic “Radio Radio” and sent Lorne Michaels into fits. Michael J. Roberts’ splendid Tell Tchaikovsky the News sets me to rights, though, on the long-standing conflicts and complexity of labor, music, and technology in the US. In a tidy 200 pages, Roberts deftly uses the American Federation of Musicians (AFM) as a case study to examine how union leadership in the not-too-distant past established and maintained leverage in negotiations with media outlets and won concessions with long-term implications, for industrial laborers, musicians, and listeners alike.

That victory, though, as Roberts explains in solid detail (from a solidly working-class standpoint), was undone over time by the cultural hierarchies sustained by the AFM, which required for membership a test of reading music. This test excluded musicians of the oral tradition, be it blues, jump blues, hillbilly, or country. The privilege of composition over interpretation, of music for listening over music for dancing, corresponded to class differences across racial lines: jazz musicians such as Dizzy Gillespie and Charles Mingus sustained the ethos of W.E.B. Dubois’ “talented tenth” in their disdain for the jump blues of Louis Jordan, most notably. Roberts does an excellent job of giving shape to the cause that spurred culture-and-class rebels like Jordan, who found a lively audience for his spirited tunes during the war years, especially, when in 1943 alone 72% of job turnover was the result of voluntary departures. If the names changed, the conflict continued apace through the 1950s, and involved odd articulations between juvenile delinquency, communism, and moral panics over race mixing.

Roberts takes the reader on a rich history of radio and labor through the age of the baby boomers, and adds a great meditation on immigration policy, protectionism, and the British Invasion in his chapter on the 1960s. He even uncovers the affinities of Detroit dissident rockers The MC5 for AFM Local 5 in Detroit, and wonders where musicians and industrial workers might be now had “culture”—in all its various forms—been a mode for solidarity rather than difference.

With affection (and understandable frustration), Roberts’ musical history tour takes the reader from the fine points of lyrical innuendo to the battering-ram delicacy of Cold War hysteria. Strongly recommended for anyone interested in labor, leisure, and rockin’ out!

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Selasa, 02 September 2014

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Sabtu, 30 Agustus 2014

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Senin, 25 Agustus 2014

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Staging the Blues: From Tent Shows to Tourism, by Paige A. McGinley

Singing was just one element of blues performance in the early twentieth century. Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In Staging the Blues, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.

  • Sales Rank: #232761 in Books
  • Published on: 2014-09-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 6.00" w x .75" l, .0 pounds
  • Binding: Paperback
  • 304 pages

Review
"This beautifully written and engaging account of how blues has been staged will change for good how theater scholars think of musical performance, and how music scholars think of theater. Paige A. McGinley's observation that 'authenticity is produced theatrically, on stage, in the context of the performance event' deconstructs the binary between authenticity and inauthenticity, allowing her to focus on black agency and subjectivity as it is produced in and through performance."
(Gayle Wald, author of Shout, Sister, Shout! The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe 2014-03-12)

"Staging the Blues is a much-needed, even game-changing intervention into dominant models for the study of blues music and culture. Based on amazing original research, Paige A. McGinley reassesses what we think we know about the blues, offers bold and insightful analyses of the racial and gendered politics of blues performance and reception, and, crucially, restores critical recognition of the theatricality of the blues and its historical place in traditions of popular performance." (Jayna Brown, author of Babylon Girls: Black Women Performers and the Shaping of the Modern 2014-03-12)

"A fascinating study that ought to be widely read and its implications thoughtfully considered. For scholars, critics, historians, and aficionados of the blues." (Genevieve ­Williams Library Journal)

“[McGinley] does a worthy job of explaining how the dominant framing of the blues essentially assigned the very notion of theatrical performance – and, by extension, a performer’s right to develop a stage presence of his/her own choosing – to a gendered, second-class status. The irony turns out to be that said framing was itself a theatrical construct in the first place.” (Mark Reynolds PopMatters)

“In this concise musical journey of the mise-en-scène of blues music performances, McGinley takes readers to the South, starting with the tent shows of an earlier era and concluding with the current staging of the blues for genre travelers and tourists. … Readers are left with the knowledge of what scenic staging has meant for blues throughout the decades. … Recommended. All readers.” (T. Emery Choice)

“Staging the Blues will likely become the latest in a line of mould-breaking scholarly works on the blues to have emerged in recent years. McGinley’s emphasis on theatricality brings life to well-worn subjects, and aptly illustrates the benefits of an interdisciplinary approach that is not yet the norm in blues scholarship. This book is quite simply a must for all scholars and students of African American performance culture.”

(Lawrence Davies Studies in Theatre and Performance)

“Tracing the iterative qualities of theatrical blues trappings and their transformation by blues performers, Staging the Blues makes an important contribution to our understanding of the production and performance of race. Its exhaustive archival depth recasts familiar performances and introduces new material that adds to the scholarly repertoire of black performance studies. Most significantly, it establishes a vital conversation between popular theatre and music that provides a model of interdisciplinary performance studies.”  (Shane Vogel Theatre Research International 2015-09-01)

"[T]his study will prove to be one of the most captivating additions to the scholarship on the blues to date." (Tammy L. Kernodle American Studies 2016-01-01)

"In short, this book is a must-read. McGinley’s methodology and historical purview tear down those worn-out perceptions of authenticity to reinsert the thespian dynamism of American vernacular music." (Stephanie Vander Wel The Journal of Southern History 2016-05-01)

About the Author
Paige A. McGinley is Assistant Professor of Performing Arts at Washington University in St. Louis.

Most helpful customer reviews

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Five Stars
By Anonymous
An exceptional book. McGinley presents a fascinating take on the per formative elements of the blues.

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