Framing the Audience explores the cultural politics of the Great Depression and World War II through the prism of art appreciation. Isadora Helfgott interrogates the ideological and political motivations for breaking down barriers between fine art and popular culture. She charts the impact that changes in art appreciation had on the broader political, social, cultural, and artistic landscape.
Framing the Audience argues that efforts to expand the social basis of art became intertwined with—and helped shape—broader debates about national identity and the future of American political economy. Helfgott chronicles artists’ efforts toinfluence the conditions of artistic production and display. She highlights the influence of the Federal Art Project, the impact of the Museum of Modern Art as an institutional home for modernism in America and as an organizer of traveling exhibitions, and the efforts by LIFE and Fortune magazines to integrate art education into their visual record of modern life. In doing so, Helfgott makes critical observations about the changing relationship between art and the American public.
This collection of essays was selected from those presented in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema." The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, political, and religious institutions that have influenced the historiography of German cinema and television.
Before the turn of the century, Germans began to employ the medium of film to represent the past when they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of personal, cultural, and national identity by consistently providing prominent treatment of historical subjects.
Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine precisely which factors have motivated those changes.
In attempting to define these factors, the link between German cinema, television, and history has developed around three interrelated issues: (1) the reception of Weimar cinema, which for most film scholars continues to be mediated to one extent or another by Siegfried Kracauer’s work; (2) the inscribing of fascism in cinema and television; and (3) the nature of, and potential for, alternatives to mainstream cinema and television.
As the subject of ideological, aesthetic, and existential manipulations, the Polish home and its representation is an ever-changing phenomenon that absorbs new tendencies and, at the same time, retains its centrality to Polish literature, whether written in Poland or abroad. Framing the Polish Home is a pioneering work that explores the idea of home as fundamental to the question of cultural and national identity within Poland's recent history and its tradition.
In this inaugural volume of the Polish and Polish-American Studies Series, the Polish home emerges in its rich verbal and visual representations and multiple material embodiments, as the discussion moves from the loss of the home during wartime to the Sovietized politics of housing and from the exilic strategies of having a home to the the idyllic evocation of the abodes of the past.
Although, as Bożena Shallcross notes in her introduction, “few concepts seem to have such universal appeal as the notion of the home,” this area of study is still seriously underdeveloped. In essays from sixteen scholars, Framing the Polish Home takes a significant step to correct that oversight, covering a broad range of issues pertinent to the discourse on the home and demonstrating the complexity of the home in Polish literature and culture.
The politics of gun policy in the United States are dramatic. Against the backdrop of daily gun violence—which claims more than 33,000 lives per year—gun control groups push for stronger regulations, while gun rights groups resist infringements upon their Second Amendment rights. To illuminate the dynamics of this polarized debate, Warped Narratives examines how and why interest groups frame the gun violence problem in particular ways, exploring the implication of groups’ framing choices for policymaking and politics. Melissa K. Merry argues that the gun policy arena is warped, and that both gun control and gun rights organizations contribute to the distortion of the issue by focusing on atypical characters and settings in their policy narratives. Gun control groups emphasize white victims, child victims, and mass shootings in suburban locales, while gun rights groups focus on self-defense shootings, highlighting threats to “law-abiding” gun owners. In reality, most gun deaths are the result of suicide. Homicides occur disproportionately in urban areas, mainly affecting racial minorities. While warping makes political sense in the short term, it may lead to negative, long-term consequences, including constraints on groups’ ability to build broad-based coalitions and to reduce prospects for compromise. To demonstrate warping, Merry analyzes nearly 67,000 communications by 15 national gun policy groups between 2000 and 2017 collected from blogs, emails, Facebook posts, and press releases. This book is the first to systematically assess the role of race in gun policy groups’ framing and offers the most comprehensive examination to date of interest groups’ presentation of this issue.
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