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Locating Migrating Media details the extent to which media productions, both televisual and cinematic, have sought out new and cheaper shot locations, creative staff, and financing around the world. The book contributes to debates about media globalization, focusing on the local impact of new sites of media production. The book's chapters also question the role that film and television industries and local and regional governments play in broader economic develop and tax incentive schemes. While metaphors of transportation, mobility, fluidity and change continue to serve as key concepts and frames for understanding contemporary media industries, products and processes, the essays in this book look to local spaces, neighborhoods, cultural workers and stories to ground the global_that is, to interrogate the effect of media globalization before, during and after film and television shooting and onsite production. By locating migrating media, these chapters seek to determine the political, economic and cultural conditions that produce contemporary forms of televisual and cinematic storytelling, and how these processes affect the inhabitants, the 'look' and the very geopolitical future of local communities, neighborhoods, cities and regions. The focus on relocated screen production highlights the act of film- and television-making, both aesthetically and economically. To locate migrating media is therefore to determine the political and cultural economies of globalized sets and stages, be they in new studios or on city streets or, perhaps most importantly, in our imaginations.
Elmer Gantry isn’t suited to be a lawyer, so he becomes a preacher instead. Although he experiences a variety of failures, and even more successes, Gantry ultimately finds this new career path suits him very well indeed—despite his drinking and womanizing. Throughout his time as a preacher Gantry progresses through the hierarchies of the Baptist and Methodist churches, dabbles in revivalism and “New Thought,” and even experiments with politics, all the while emerging from scandals relatively unscathed and ready to move onward and upward once again. Sinclair Lewis published the satirical Elmer Gantry in 1927 much to the dismay of the religious community. It was denounced from the pulpit, banned by many, and even engendered threats of violence. Despite this—or perhaps because of it—it went on to become a massive success and the best selling novel of that year. One of the most savage satirical assaults against institutionalized religion and its hypocrisy in American literature, Elmer Gantry continues to be a window into a particularly important aspect of American history. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
The Texas Frontier, 1865 The Civil War is over and Texas is reluctantly yielding to the Union soldiers spreading across the state, even into the dangerous Comanche country. David "Rusty" Shannon, proud member of a "ranging company" attempting to protect Texas settlers from Indian depredations, finds that the rangers are being disbanded. He makes his way home to his land on the Red River, hoping to take up the life of a farmer and the hand of the beloved girl he left behind, Geneva Monahan. But Geneva has married in Rusty's long absence and the country is filled with hostiles—not just Indians, but hate-filled Confederates, overbearing Union soldiers, and army renegades. Rusty's youth as a captive of the Comanches returns to haunt him when, in pursuit of Indian raiders, he takes as prisoner Badger Boy, a white child taken from his murdered parents by a Comanche warrior. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.
Early in World War II censors placed all photographs of dead and badly wounded Americans in a secret Pentagon file known to officials as the Chamber of Horrors. Later, as government leaders became concerned about public complacency brought on by Allied victories, they released some of these photographs of war's brutality. But to the war's end and after, they continued to censor photographs of mutilated or emotionally distressed American soldiers, of racial conflicts at American bases, and other visual evidence of disunity or disorder. In this book George H. Roeder, Jr., tells the intriguing story of how American opinions about World War II were manipulated both by the wartime images that citizens were allowed to see and by the images that were suppressed. His text is amplified by arresting visual essays that include many previously unpublished photographs from the army's censored files. Examining news photographs, movies, newsreels, posters, and advertisements, Roeder explores the different ways that civilian and military leaders used visual imagery to control the nation's perception of the war and to understate the war's complexities. He reveals how image makers tried to give minorities a sense of equal participation in the war while not alarming others who clung to the traditions of separate races, classes, and gender roles. He argues that the most pervasive feature of wartime visual imagery was its polarized depiction of the world as good or bad, and he discusses individuals--Margaret Bourke-White, Bill Mauldin, Elmer Davis, and others--who fought against these limitations. He shows that the polarized ways of viewing encouraged by World War II influenced American responses to political issues for decades to follow, particularly in the simplistic way that the Vietnam War was depicted by both official and antiwar forces.
With her trademark precision, Davis turns her eye to three beloved cows, capturing them in celebratory, delighted detail.
Selections from the writings of Elmer Davis.