Showing posts with label popular culture. Show all posts
Showing posts with label popular culture. Show all posts

Friday, April 3, 2020

Announcing a new series: 21st Century Film Essentials

Donna Kornhaber, Series Editor

Cinema has a storied history, but its story is far from over. 21st Century Film Essentials offers a lively chronicle of cinema’s second century, examining the landmark films of our ever-changing moment. Each book makes a case for the importance of a particular contemporary film for artistic, historical, or commercial reasons. The twenty-first century has already been a time of tremendous change in filmmaking the world over, from the rise of digital production and the ascent of the multinational blockbuster to increased vitality in independent filmmaking and the emergence of new voices and talents both on screen and off. The films examined here are the ones that embody and exemplify these changes, crystallizing emerging trends or pointing in new directions. At the same time, they are films that are informed by and help refigure the cinematic legacy of the previous century, showing how film’s past is constantly reimagined and rewritten by its present. These are films both familiar and obscure, foreign and domestic; they are new but of lasting value. This series is a study of film history in the making. It is meant to provide a different kind of approach to cinema’s story--one written in the present tense.

Forthcoming Books


  • The LEGO Movie by Dana Polan (Fall 2020)
  • Harry Potter and the Prisoner of Azkaban by Patrick Keating (Spring 2021)
  • The Florida Project by J.J. Murphy (Fall 2021)
  • Black Panther by Scott Bukatman (Spring 2022)


About The LEGO Movie by Dana Polan



What happens when we set out to understand LEGO not just as a physical object but as an idea, an icon of modernity, an image—maybe even a moving image? To what extent can the LEGO brick fit into the multimedia landscape of popular culture, especially film culture, today? Launching from these questions, Dana Polan traces LEGO from thing to film and asserts that The LEGO Movie is an exemplar of key directions in mainstream cinema, combining the visceral impact of effects and spectacle with ironic self-awareness and savvy critique of mass culture as it reaches for new heights of creativity.

Incorporating insights from conversations with producer Dan Lin and writer-directors Phil Lord and Chris Miller, Polan examines the production and reception of The LEGO Movie and closely analyzes the film within popular culture at large and in relation to LEGO as a toy and commodity. He identifies the film’s particular stylistic and narrative qualities, its grasp of and response to the culture industry, and what makes it a distinctive work of animation among the seeming omnipresence of animation in Hollywood, and reveals why the blockbuster film, in all its silliness and seriousness, stands apart as a divergent cultural work.

Dana Polan is a professor of cinema studies in the Tisch School of the Arts at New York University and former president of the Society for Cinema Studies. He is the author of eight books in film and media studies, including The Sopranos and Pulp Fiction, and approximately two hundred essays and reviews.


Thursday, December 13, 2018

2018 in Book Awards and Distinctions

As we look back on 2018, we will be sharing our proudest moments here at the University of Texas Press. As a testament to the high-quality scholarship our authors have produced and the heroic efforts by our editorial staff, we are pleased to highlight the books, below, that have earned awards or distinctions in 2018.

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Archaeology


Tom Dillehay’s Where the Land Meets the Sea: Fourteen Millennia of Human History at Huaca Prieta, Peru

2018 Society for American Archaeology's Book Award 

"This volume is a foundational landmark, and can be used to teach students both at undergraduate and graduate levels to provide guidance for how to conduct and publish future archaeological research."

Antiquity


American Studies

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Stacy I. Morgan's Frankie and Johnny: Race, Gender, and the Work of African American Folklore in 1930s America

2018 Wayland D. Hand Prize (co-winner) 

“I am extremely impressed by this book. I think it will be a valuable addition to African American studies, American studies, cultural studies, and popular culture studies.”



James Smethurst, University of Massachusetts Amherst, author of The African American Roots of Modernism: From Reconstruction to the Harlem Renaissance

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Music

Holly Gleason’s Woman Walk the Line: How the Women in Country Music Changed Our Lives

2018 Belmont Award for the Best Book on Country Music 

“Woman Walk the Line radiates heartfelt sincerity, revealing how women in country music—world-famous and little-known, black and white, vintage and contemporary—helped shape the lives of many different kinds of women. It’s concrete evidence that country should and does belong just as much to women as to men.”


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—Ann Powers, author of Good Booty

Photography

Dawoud Bey's Dawoud Bey: Seeing Deeply

Paris PhotoAperture Foundation PhotoBook Awards Shortlist 

"Photographs from all of Bey’s major projects are presented in chronological sequence, allowing viewers to see how the collective body of portraits and recent landscapes create an unparalleled historical representation of various communities in the United States."

Photo-eye Blog


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Classics and Ancient World

2018 AAP Prose Awards, Classics Category

"Hunt, Smith, and Stok have produced a valuable and useful book…Especially as Classics continues to be a source of interest and even contention in the public eye, the history of the field should remain of vital interest to students…The present volume offers a rich and engaging starting point."

New England Classical Journal

Middle Eastern Studies

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Ahmed Naji’s Using LifeIllustrations by Ayman Al Zorkany, translated by Benjamin Koerber

2018 Neukom Institute Literary Arts Awards Shortlist 

Using Life is a riotous novel about a failing state, a corrupt city, a hypocritical authority, but it is also about tequila shots and getting laid and smoking weed with your infuriating girlfriend and debating whether rock music died in the seventies and if Quentin Tarantino is a genius or a fraud. It’s a young man’s book. A young man whose youth is colliding with a dark moment in history.”

—Zadie Smith, The New York Review of Books

2018 Khayrallah Prize in Migration Studies 

“A groundbreaking work that presents the social configuration of Arabic-speaking migrants and their descendants in a new and revelatory light. This study stands to be an excellent example of a global, connected colonial approach to migration and nationalism. It reconfigures Latin American and Middle Eastern studies in a sound and compelling way, highlighting the ways in which Mexico and the Levant participate in, and interact with, the same structures of power.”

Christina Civantos, University of Miami, author of Between Argentines and Arabs: Argentine Orientalism, Arab Immigrants, and the Writing of Identity

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Film, Media & Popular Culture

Linda Mizejewski and Victoria Sturtevant’s Hysterical! Women in American Comedy

2018 Susan Koppleman Award for Best Anthology, Multi-Authored, or Edited Book in Feminist Studies, Popular and American Culture Associations (PACA) 

"Here to meet all your funny female deep-read needs . . . a juicy read for those who love the many ways female comics use their art to question the patriarchy."



—BUST

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Mark Heimermann and Brittany Tullis’s Picturing Childhood: Youth in Transnational Comics

2018 Best Academic/Scholarly work, Will Eisner Comic Industry Awards Shortlist 

Picturing Childhood is a much needed and long-awaited interdisciplinary project that looks at representations of children throughout the history of comics.”

Studies in Twentieth and Twenty-first Century Literature

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Jennifer Fronc's Monitoring the Movies: The Fight over Film Censorship in Early Twentieth-Century Urban America

2017 Richard Wall Memorial Award finalist (Theatre Library Association)

“Not unlike Facebook, the nascent movie industry resisted regulation; it fought back with self-imposed guidelines aided by the rhetoric of civil libertarians. . . . Fronc has written an engaging and balanced account of questions whose debating points remain relevant today.”

Shepherd Express
 

2018 AAP Prose Awards, Biological Anthropology, Ancient History & Archaeology category 
2018 Mr. and Mrs. Raymond J. Horowitz Book Prize
2017 MLA Katherine Singer Kovacs Prize, Honorable Mention

“This volume goes a long way toward explaining and interpreting Inca khipus as encoded political, social, ritual, and economic structures, and as such, is essential reading not only for all Peruvianists and students of ancient civilizations but also, because of the book's code-breaking arguments related to binary coding, hierarchy, and markedness, for scholars in those areas as well.”

Choice

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2018 Annual Association for Latin American Art/Arvey Foundation Margaret Arvey Book Award 

“Deeply researched and passionately argued, this book is a model for effective transnational scholarship. Much like her protagonists, Montgomery is a visionary.”

—Tatiana Flores, Rutgers University, author of Mexico’s Revolutionary Avant-Gardes: From Estridentismo to ¡30-30!

2018 LASA Mexico Humanities Book Award 

“A rich history of how race was conceptualized and materially inscribed in colonial Mexico—and a pleasure to read. The book’s contributions are manifold, and it will be in conversation with other books in the field, while expanding the discussions with which the colonial period can engage.”


—Ivonne del Valle, University of California, Berkeley

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Amy Sara Carroll’s REMEX: Toward and Art History of the NAFTA Era 

2018 LASA Mexico Humanities Book Award, Honorable Mention
2017 MLA Katherine Singer Kovacs Prize, Honorable Mention


“Incredibly smart, well-articulated, and very much needed. REMEX is not only an important contribution to the fields of Mexican and border visual cultural and performance studies, but it is the book that will move the conversations in the fields in new and provocative ways. It is the book many of us have been waiting for.”

Laura G. Gutiérrez, University of Texas at Austin, author of Performing Mexicanidad: Vendidas y Cabareteras on the Transnational Stage

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John Lear’s Picturing the Proletariat: Artists and Labor in Revolutionary Mexico 19081940

2018 LASA Mexico Humanities Book Award, Honorable Mention

“This superb study intertwines a history of artistic representations of Mexican workers on public walls and in labor publications with that of the artists who produced them. I know of no other work that attempts such an endeavor and, though it is an ambitious project, it is most successful. The wide swath cut by Lear makes the book important for a broad audience: those interested in the history of Mexico, the history of Mexican labor, and the history of Mexican art. The scholarship is impeccable.”

John Mraz, Universidad Autónoma de Puebla, author of Photographing the Mexican Revolution: Commitments, Testimonies, Icons


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Mariana Mora’s Kuxlejal Politics: Indigenous Autonomy, Race, and Decolonizing Research in Zapatista Communities

2018 LASA Mexico Social Science Book Award, Honorable Mention

Kuxlejal Politics is a most eloquent testimony to the dynamic Zapatista struggle and to what an engaged academy can do when it genuinely walks along the paths of subaltern groups intent on defending their worlds. By theorizing and embodying a farsighted vision of decolonized and decolonizing research, Mora renews our commitment to the idea that another academy is possible and practicable. This work is a gift to us all by one of the most inventive exponents of Mexican anthropology at present, in the best tradition of Latin American critical thought.”

Arturo Escobar, Professor of Anthropology, University of North Carolina at Chapel Hill

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Robert W. Wilcox’s Cattle in the Backlands: Mato Grosso and the Evolution of Ranching in the Brazilian Tropics

2018 Henry A. Wallace Award, The Agricultural History Society 


“This book fills a large hole in historical scholarship. English-language treatments of ranching history anywhere in Brazil are few and far between. It also makes a strong case for the importance of linking agro-pastoral studies to environmental specificity and to careful consideration of labor practices.”

Thomas D. Rogers, Emory University, author of the award-winning book The Deepest Wounds: A Labor and Environmental History of Sugar in Northeast Brazil

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Isabel M. Córdova’s Pushing in Silence: Modernizing Puerto Rico and the Medicalization of Childbirth

2018 NWSA Gloria E. Anzaldúa Book Prize 

“A brilliantly written, accessible, and comprehensive analysis of the multifaceted social, cultural, and historical conditions that led to the medicalization of birthing in Puerto Rico, which enabled doctors to replace midwives. This history has not been written before. The research is original and unique and is a contribution to the fields of sociology, anthropology, history, and biomedicine.”

Iris O. Lopez, City College of New York, author of Matters of Choice: Puerto Rican Women’s Struggle for Reproductive Freedom

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Patricia Acerbi’s Street Occupations: Urban Vending in Rio de Janeiro, 18501925

2017 Warren Dean Memorial Prize in Brazilian Studies, Conference on Latin American History 

“This book makes a huge contribution to our understanding of street life and commerce in Rio de Janeiro and to the transition from flexible slavery to radically unequal freedom. Acerbi’s research is extensive and groundbreaking.”

Bryan McCann, Georgetown University, author of Hard Times in the Marvelous City: From Dictatorship to Democracy in the Favelas of Rio de Janeiro

Wednesday, July 12, 2017

Spidey, Inc.—Great Power and Your Friendly Neighborhood Spider-Man

By Matt Yockey, editor of Make Ours Marvel: Media Convergence and a Comics Universe 


Due to corporate machinations—which, from the outside, can seem as arcane as any supervillain plot to take over the world—Spider-Man, one of Marvel Comic’s flagship characters, didn’t make the leap to the Marvel Studios fold when the company took on translating its stable of comic book titles into hugely successful blockbusters beginning with 2007’s Iron Man. Having licensed Spider-Man to Sony in 1999, Marvel’s enduring “web-head” existed in his own universe in Sam Raimi’s Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007), and in yet another spider-verse in Marc Webb’s The Amazing Spider-Man (2012) and The Amazing Spider-Man 2 (2014). While these films combined for well over a billion dollars in domestic box office receipts, Marvel itself got only a small percentage as their cut. And while the company was left out of this financial windfall, Marvel fans themselves were deprived of seeing one of the company’s most iconic characters rub shoulders with his super-powered compatriots, as he so often has in the comics. 
       
If a Marvel Cinematic Universe seemed incomplete without Spider-Man (and certainly the introduction of second-string characters such as Ant-Man couldn’t quite fill the gap left by Spidey’s tenure at Sony), Marvel took steps to correct this by reacquiring the film rights to the character and introducing him into their cinematic world in last year’s Captain America: Civil War. As played by Tom Holland (who was 19 when shooting began), this Spider-Man rings truer as an earnest high school geek than a then 27-year old Toby Maguire did in 2002 or the more conventionally handsome Andrew Garfield does in the Webb films. What’s perhaps most fascinating—and different—about this latest movie Spider-Man is how he’s ushered into the MCU. As the Avengers fracture internally, a beleaguered Tony Stark turns, apparently, to YouTube for help and discovers a red and blue-clad super-being caught on cell phone footage fighting crime in New York. Stark corners Peter Parker in the Queens apartment the high-schooler shares with his Aunt May and applies his passive-aggressive shtick (“So, you’re the … Spiderling? Crime-fighting Spider? You’re Spider-Boy?”) to win him over. This meeting between the two is funny in part because the dynamic—like that of a big brother catching his younger brother with a well-worn copy of Playboy—is both embarrassing and flattering to Peter. He has a secret that he desperately doesn’t want his aunt to know about but which also makes him quietly proud of himself (in this case, for actively fighting bad in the world). As he stutters to Stark rather uncertainly, “I’m Spi-Spider-Man.” He is in fact a boy hoping to become a man and the longstanding appeal of Spider-Man has been that, unlike, say, Batman or Superman over at DC, he is always in the process of growing up. Thus, his everyday struggles (he initially rejects Stark’s offer to jet to Germany, incredulously asserting that he has homework) have always distinguished him as one of the most identifiable superheroes ever.


All of which makes his tutelage under Tony Stark in the MCU all the more significant. In his previous movie iterations, Spider-Man had a vexed relationship with corporate America. Oscorp was the source of both his powers and his adversaries, marking the corporate enterprise in distinctly ambivalent terms. By recasting Peter Parker as a kind of ward of Tony Stark, the MCU-version of the character is much cozier with corporate power. Stark gets him a new suit and, perhaps more importantly for Peter, a place at the grown-ups’ table. Peter belongs and he immediately has the approval of the coolest guy in the room, who also happens to be the richest. Of course, as a symbol of corporate America, Tony Stark individualizes corporate power, making it both familiar and flawed (his smarmy charm is as much a weakness as it is a strength). Audiences embrace Tony Stark in these films because he seems to be constantly learning the same lesson that Peter is learning: “With great power comes great responsibility.”

As a perpetual teenager haunted by the death of his uncle and tasked with caring for his aunt, Peter Parker balances the taciturn grimness of Batman with the enthusiastic naiveté of Robin and the result is greater than the sum of its parts. He is at once determined and self-doubting, and in that emotional mix of civic and familial devotion with private insecurity, Peter Parker represents the best—and most human—qualities of all of us. His credo “With great power comes great responsibility” is as relevant to a teenage science nerd as it is to a billionaire playboy superhero (or as appropriate to the average movie-goer as it is to a world leader). It’s an ethos that in recent superhero blockbusters has been questioned (Captain America: Civil War ponders the exact nature of that responsibility) or, for a fatal moment, forgotten (in Zack Snyder’s 2013 Man of the Steel). If Spider-Man’s integration into the MCU seems to require the oversight of that world’s richest but perhaps most emotionally impoverished character, we are being asked to recognize the necessity of the Everyman at the heart of the fantastic world of both superheroes and global corporate power. Just as Stark needs Peter, Marvel needs its fans and our encounter with Spider-Man this summer in Spider-Man: Homecoming reassures us that in the midst of an increasingly polarized economic landscape, it’s the little guy who still counts the most.

Make Ours Marvel is available now from your favorite bookseller, or purchase directly from the University of Texas Press here.



Tuesday, January 11, 2011

Los Angeles Times :: Unruly Girls, Unrepentant Mothers

Unruly Girls, Unrepentant Mothers
by Kathleen Rowe Karlyn
With 2010 films, it's Mother's Day
By Randee Dawn

'..."Mothers are often trivialized or sentimentalized in films," says Kathleen Rowe Karlyn, director of cinema studies at the University of Oregon and author of the upcoming "Unruly Girls, Unrepentant Mothers." "We don't tell the stories of mothers very often; we're much more interested in subjects that are interesting to men."

Karlyn points to Oscar winners "American Beauty" and "Titanic" as examples of avoiding real characterizations of mothers: "There are two mothers in 'Beauty,'" she says. "One is a shrew and one is lobotomized. In 'Titanic,' Rose would rather go down with the ship and Leo DiCaprio than get on the lifeboat with her mom!"

There are any number of reasons why moms routinely get short shrift as characters, ranging from ageism to subtle misogyny to simple economics — as in the industry belief that too much focus on female characters may turn off big-spending male audiences and drive down box-office revenue ... '

Read the full Los Angeles Times article »