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The representation of Southerners on film has been a topic of enduring interest and debate among scholars of both film and Southern studies. These 15 essays examine the problem of Southern identity in film since the civil rights era. Fresh insights are provided on such familiar topics as the redneck image, transitions to modernity and the prevalence of the Southern gothic. Other essays reflect the reinvigorated and expanding field of new Southern studies and topics include the transnational South, the intersection of ethnicity and environment and the cultural significance of Southern identity outside the South.
Author : Bryan M. Jack Publisher : University Press of Kentucky Page : 242 pages File Size : 50,9 Mb Release : 2019-01-08 Category : Performing Arts ISBN : 9780813176451
Hollywood films have been influential in the portrayal and representation of race relations in the South and how African Americans are cinematically depicted in history, from The Birth of a Nation (1915) and Gone with the Wind (1939) to The Help (2011) and 12 Years a Slave (2013). With an ability to reach mass audiences, films represent the power to influence and shape the public's understanding of our country's past, creating lasting images -- both real and imagined -- in American culture. In Southern History on Screen: Race and Rights, 1976--2016, editor Bryan Jack brings together essays from an international roster of scholars to provide new critical perspectives on Hollywood's relationships between historical films, Southern history, identity, and the portrayal of Jim Crow--era segregation. This collection analyzes films through the lens of religion, politics, race, sex, and class, building a comprehensive look at the South as seen on screen. By illuminating depictions of the southern belle in Gone with the Wind, the religious rhetoric of southern white Christians and the progressive identity of the "white heroes" in A Time to Kill (1996) and Mississippi Burning (1988), as well as many other archetypes found across films, this book explores the intersection between film, historical memory, and southern identity.
The Palgrave Handbook of the Southern Gothic by Susan Castillo Street,Charles L. Crow Pdf
This book examines ‘Southern Gothic’ - a term that describes some of the finest works of the American Imagination. But what do ‘Southern’ and ‘Gothic’ mean, and how are they related? Traditionally seen as drawing on the tragedy of slavery and loss, ‘Southern Gothic’ is now a richer, more complex subject. Thirty-five distinguished scholars explore the Southern Gothic, under the categories of Poe and his Legacy; Space and Place; Race; Gender and Sexuality; and Monsters and Voodoo. The essays examine slavery and the laws that supported it, and stories of slaves who rebelled and those who escaped. Also present are the often-neglected issues of the Native American presence in the South, socioeconomic class, the distinctions among the several regions of the South, same-sex relationships, and norms of gendered behaviour. This handbook covers not only iconic figures of Southern literature but also other less well-known writers, and examines gothic imagery in film and in contemporary television programmes such as True Blood and True Detective.
Since Birth of a Nation became the first Hollywood blockbuster in 1915, movies have struggled to reckon with the American South—as both a place and an idea, a reality and a romance, a lived experience and a bitter legacy. Nearly every major American filmmaker, actor, and screenwriter has worked on a film about the South, from Gone with the Wind to 12 Years a Slave, from Deliveranceto Forrest Gump. In The South Never Plays Itself, author and film critic Ben Beard explores the history of the Deep South on screen, beginning with silent cinema and ending in the streaming era, from President Wilson to President Trump, from musical to comedy to horror to crime to melodrama. Beard’s idiosyncratic narrative—part cultural history, part film criticism, part memoir—journeys through genres and eras, issues and regions, smash blockbusters and microbudget indies to explore America’s past and troubled present, seen through Hollywood’s distorting lens. Opinionated, obsessive, sweeping, often combative, sometimes funny—a wild narrative tumble into culture both high and low—Beard attempts to answer the haunting question: what do movies know about the South that we don’t?
Rough South, Rural South by Jean W. Cash,Keith Perry Pdf
Essays in Rough South, Rural South describe and discuss the work of southern writers who began their careers in the late twentieth and early twenty-first centuries. They fall into two categories. Some, born into the working class, strove to become writers and learned without benefit of higher education, such writers as Larry Brown and William Gay. Others came from lower- or middle-class backgrounds and became writers through practice and education: Dorothy Allison, Tom Franklin, Tim Gautreaux, Clyde Edgerton, Kaye Gibbons, Silas House, Jill McCorkle, Chris Offutt, Ron Rash, Lee Smith, Brad Watson, Daniel Woodrell, and Steve Yarbrough. Their twenty-first-century colleagues are Wiley Cash, Peter Farris, Skip Horack, Michael Farris Smith, Barb Johnson, and Jesmyn Ward. In his seminal article, Erik Bledsoe distinguishes Rough South writers from such writers as William Faulkner and Erskine Caldwell. Younger writers who followed Harry Crews were born into and write about the Rough South. These writers undercut stereotypes, forcing readers to see the working poor differently. The next pieces begin with those on Crews and Cormac McCarthy, major influences on an entire generation. Later essays address members of both groups—the self-educated and the college-educated. Both groups share a clear understanding of the value of working-class southerners. Nearly all of the writers hold a reverence for the South’s landscape and its inhabitants as well as an affinity for realistic depictions of setting and characters.
American Cinema and the Southern Imaginary by Deborah Barker,Kathryn B. McKee Pdf
"Placing the New Southern Studies in conversation with film studies, this book is simply the best edited collection available on film and the U.S. South.---Grace Hale. University of Virginia --
Sontag and the Camp Aesthetic by Bruce E. Drushel,Brian M. Peters Pdf
Sontag and the Camp Aesthetic: Advancing New Perspectives marks 50 years of writing and cultural production on the phenomenon of camp since Susan Sontag’s 1964 cornerstone essay “Notes on ‘Camp’.” It provides cutting-edge theory and understanding on ways to read and interpret camp through a collection of essays from historical, theoretical, and cultural perspectives. It includes varied subject areas including camp icons, stylistics periods, and important and representative texts from television, film, and literature. These essays create a scholarly conversation that understands camp as not only signifier or aesthetic but also a language, mode, and style that goes beyond its initial linguistic and semiotic guise. The contributors, representing a diverse group of established and rising scholars, explore camp as a largely queer genre that includes varying modes of understanding of desire and of the self outside a hegemonic model of heteronormativity.
World War I and Southern Modernism by David A. Davis Pdf
When the United States entered World War I, parts of the country had developed industries, urban cultures, and democratic political systems, but the South lagged behind, remaining an impoverished, agriculture region. Despite New South boosterism, the culture of the early twentieth-century South was comparatively artistically arid. Yet, southern writers dominated the literary marketplace by the 1920s and 1930s. World War I brought southerners into contact with modernity before the South fully modernized. This shortfall created an inherent tension between the region's existing agricultural social structure and the processes of modernization, leading to distal modernism, a form of writing that combines elements of modernism to depict non-modern social structures. Critics have struggled to formulate explanations for the eruption of modern southern literature, sometimes called the Southern Renaissance. Pinpointing World War I as the catalyst, David A. Davis argues southern modernism was not a self-generating outburst of writing, but a response to the disruptions modernity generated in the region. In World War I and Southern Modernism, Davis examines dozens of works of literature by writers, including William Faulkner, Ellen Glasgow, and Claude McKay, that depict the South during the war. Topics explored in the book include contact between the North and the South, southerners who served in combat, and the developing southern economy. Davis also provides a new lens for this argument, taking a closer look at African Americans in the military and changing gender roles.
Author : Michael D. Picone,Catherine Evans Davies Publisher : University of Alabama Press Page : 824 pages File Size : 51,8 Mb Release : 2015-03-15 Category : Language Arts & Disciplines ISBN : 9780817318154
New Perspectives on Language Variety in the South by Michael D. Picone,Catherine Evans Davies Pdf
An outgrowth of the LAVIS III symposium (2004), New Perspectives on Language Variety in the South: Historical and Contemporary Approaches comprises forty-five original essays (revised and reviewed) on a range of topics regarding the languages and dialects of the American South.
The New Encyclopedia of Southern Culture by Michael B. Montgomery,Ellen Johnson Pdf
The fifth volume of The New Encyclopedia of Southern Culture explores language and dialect in the South, including English and its numerous regional variants, Native American languages, and other non-English languages spoken over time by the region's immigrant communities. Among the more than sixty entries are eleven on indigenous languages and major essays on French, Spanish, and German. Each of these provides both historical and contemporary perspectives, identifying the language's location, number of speakers, vitality, and sample distinctive features. The book acknowledges the role of immigration in spreading features of Southern English to other regions and countries and in bringing linguistic influences from Europe and Africa to Southern English. The fascinating patchwork of English dialects is also fully presented, from African American English, Gullah, and Cajun English to the English spoken in Appalachia, the Ozarks, the Outer Banks, the Chesapeake Bay Islands, Charleston, and elsewhere. Topical entries discuss ongoing changes in the pronunciation, vocabulary, and grammar of English in the increasingly mobile South, as well as naming patterns, storytelling, preaching styles, and politeness, all of which deal with ways language is woven into southern culture.
Author : Thomas S. Freeman,David L. Smith Publisher : Springer Nature Page : 336 pages File Size : 55,6 Mb Release : 2019-10-14 Category : History ISBN : 9783319894089
Biography and History in Film by Thomas S. Freeman,David L. Smith Pdf
The essays in this volume seek to analyze biographical films as representations of historical individuals and the times in which they lived. To do this, contributors examine the context in which certain biographical films were made, including the state of knowledge about their subjects at that moment, and what these films reveal about the values and purposes of those who created them. This is an original approach to biographical (as opposed to historical) films and one that has so far played little part in the growing literature on historical films. The films discussed here date from the 1920s to the 2010s, and deal with males and females in periods ranging from the Middle Ages to the end of the twentieth century. In the process, the book discusses how biographical films reflect changing attitudes towards issues such as race, gender and sexuality, and examines the influence of these films on popular perceptions of the past. The introduction analyses the nature of biographical films as a genre: it compares and contrasts the nature of biography on film with written biographies, and considers their relationship with the discipline of history. As the first collection of essays on this popular but understudied genre, this book will be of interest to historians as well as those in film and cultural studies.
What patterns emerge in media coverage and character depiction of Southern men and women, blacks and whites, in the years between 1954 and 1976? How do portrayals of the region and the equal rights movement illuminate the spirit and experience of the South—and of the nation as a whole? In Framing the South, Allison Graham examines the ways in which the media, particularly television and film, presented Southerners during the period of the civil rights revolution. Graham analyzes depictions of southern race and social class in a wide range of Hollywood films—including A Streetcar Named Desire, The Three Faces of Eve, and A Face in the Crowd from the 1950s; later films like Cool Hand Luke, In the Heat of the Night, and Mississippi Burning; and MGM's Elvis Presley vehicles. She traces how films have confronted—or avoided—issues of racism over the years, paralleling Hollywood depictions with the tamer characterization of the likeable "hillbilly" popularized in television's The Real McCoys and The Andy Griffith Show. Graham reinforces the political impact of these fictional representations by examining media coverage of civil rights demonstrations, including the documentary Crisis: Behind the Presidential Commitment, which reported the clash between Robert Kennedy and Governor George Wallace over the integration of the University of Alabama. She concludes with a provocative analysis of Forrest Gump, identifying the popular film as a retelling of post-World War II Southern history.
"Personal in My Memory": The South in Popular Film by some of our favorite writers and filmmakers by Godfrey Cheshire Pdf
Personal in My Memory" The South in Popular Film by some of our favorite writers and filmmakers with an introduction by Godfrey Cheshire Alice Walker, Allan Gurganus, Randall Kenan, Joe Flora, Kenneth Turan, Elizabeth Spencer, and Andrew Garrison tell how their favorite Southern films marked them indelibly. "We have two imaginary kingdoms. One, 'the South,' exists primarily in song, oral traditions and folkways, native art and literature. The other, 'Hollywood,' creates mass-produced audiovisual entertainments for American and world audiences, and develops its own mythology."