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The Good, the Bad and the Ancient
Although Americans are no longer compelled to learn Greek and Latin, classical ideals remain embedded in American law and politics, philosophy, oratory, history and especially popular culture. In the Western genre, many film and television directors (such as John Ford, Raoul Walsh, Howard Hawks, Anthony Mann and Sam Peckinpah) have drawn inspiration from antiquity, and the classical values and influences in their work have shaped our conceptions of the West for years. This thought-provoking, first-of-its-kind collection of essays celebrates, affirms and critiques the West's relationship with the classical world. Explored are films like Cheyenne Autumn, The Wild Bunch, The Track of the Cat, Trooper Hook, The Furies, Heaven's Gate, and Slow West, as well as serials like Gunsmoke and Lonesome Dove.
Eyewitness to Chaos
Haitian culture and military power -- Preventive diplomacy and military intervention -- Planning a military intervention -- Conducting a military intervention -- Intervention under the Blue Beret -- Aftermath -- Appendix: Oral history interviewees
The Wire
A critical and insightful exploration of arguably the greatest television show of the twenty-first century. In the two decades since The Wire first aired, the show has only continued to grow in cultural relevance as America has seen domestic terrorism increase, race relations become ever tenser, political populism become increasingly sectarian, health inequalities worsen, incarceration rates for Black Americans skyrocket, and grassroots racial activism grow. In The Wire: A Cultural History, Ben Lamb explores how the twenty-first century’s greatest television show changed international perceptions of American policing, drug laws, and race relations forever, and instigated our obsessive stre...
Statement of Disbursements of the House
Covers receipts and expenditures of appropriations and other funds.
Televisual Shared Universes
This book of empirical studies analyzes examples of televisual shared universes since the 1960s to understand how the nature of televised serial narratives and network corporate policies have long created shared storyworlds. While there has been much discussion about shared cinematic universes and comic book universes, the concept has had limited exploration in other media, such as those seen on the smaller screen. By applying convergence culture and other contemporary media studies concepts to television’s history, contributors demonstrate the common activities and practices in serial narratives that align older television with contemporary television, simultaneously bridging the gap between old media and new media studies. Scholars of film studies, media studies, and popular culture will find this book of particular interest.
