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In Media-Made Dixie Jack Kirby shows how the American public’s perceptions of the South have been influenced, even controlled, by the mass communications media. In this newly updated edition, Kirby surveys major movies, radio and television shows, plays, popular histories, and music from the turn of the century through the 1980s. He documents a progression in the national image of the South from the cracker wasteland of Erskine Caldwell’s God’s Little Acre to the antebellum wonderland of Hollywood’s Shirley Temple-“Bojangles” Robinson musicals; from William Styron’s searching account of the Old South in Confessions of Nat Turner to the New South ingenuity of Jimmy Carter and Ted Turner; and from the regressive back-roads of television’s The Dukes of Hazzard to the complex reconciliation found in Alice Walker’s and Steven Spielberg’s The Color Purple.
''A vital and, until now, missing piece to the puzzle of the 'Lost Cause' ideology and its impact on the daily lives of post-Civil War southerners. This is a careful, insightful examination of the role women played in shaping the perceptions of two generations of southerners, not simply through rhetoric but through the creation of a remarkably effective organization whose leadership influenced the teaching of history in the schools, created a landscape of monuments that honored the Confederate dead, and provided assistance to elderly veterans, their widows, and their children.
Often defined as a mostly southern phenomenon, racist violence existed everywhere. Brent M. S. Campney explodes the notion of the Midwest as a so-called land of freedom with an in-depth study of assaults both active and threatened faced by African Americans in post–Civil War Kansas. Campney's capacious definition of white-on-black violence encompasses not only sensational demonstrations of white power like lynchings and race riots, but acts of threatened violence and the varied forms of pervasive routine violence--property damage, rape, forcible ejection from towns--used to intimidate African Americans. As he shows, such methods were a cornerstone of efforts to impose and maintain white supremacy. Yet Campney's broad consideration of racist violence also lends new insights into the ways people resisted threats. African Americans spontaneously hid fugitives and defused lynch mobs while also using newspapers and civil rights groups to lay the groundwork for forms of institutionalized opposition that could fight racist violence through the courts and via public opinion. Ambitious and provocative, This Is Not Dixie rewrites fundamental narratives on mob action, race relations, African American resistance, and racism's grim past in the heartland.
The Southern journalist was more likely to be a Romantic and an intellectual. The region's journalism was personal, colorful, and steeped in the classics. This title suggests that the South's journalism struck a literary pose closer to the older English press than to the democratic penny press or bourgeois magazines of the urban North.
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.
In Look Away, Dixieland Vermont-native James Twitchell sets out from his home in Florida on the inauguration day of America's first black president to find the "real" South and to try to figure out the truth about his illustrious ancestor, Marshall Harvey Twitchell -- a carpetbagger and a victim of the Coushatta Massacre (having both his arms shot off), which made the front page of the New York Times in 1873. Twitchell travels from Georgia's Okefenokee Swamp across Alabama and Mississippi to Coushatta, Louisiana in a RV. As he drives through the heart of Dixie, Twitchell sorts through the prejudices he learned from his northern rearing. Ultimately, he uncovers facts about his great-grandfather and his family's past while revealing some of the differences and similarities between the North and South that ultimately define us as nation.
More than a century after Appomattox, the Civil War and the idea of the "Lost Cause" remain at the center of the southern mind. God and General Longstreet traces the persistence and the transformation of the Lost Cause from the first generation of former Confederates to more recent times, when the Lost Cause has continued to endure in the commitment of southerners to their regional culture. Southern writers from the Confederate period through the southern renascence and into the 1970s fostered the Lost Cause, creating an image of the South that was at once romantic and tragic. By examining the work of these writers, Thomas Connelly and Barbara Bellows explain why the nation embraced this image and outline the evolution of the Lost Cause mentality from its origins in the South's surrender to its role in a centurylong national expression of defeat that extended from 1865 through the Vietnam War. As Connelly and Bellows demonstrate, the Lost Cause was a realization of mortality in an American world striving for perfection, an admission of failure juxtaposed against a national faith in success.
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 Routledge History of Rural America charts the course of rural life in the United States, raising questions about what makes a place rural and how rural places have shaped the history of the nation. Bringing together leading scholars to analyze a wide array of themes in rural history and culture, this text is a state-of-the-art resource for students, scholars, and educators at all levels. This Routledge History provides a regional context for understanding change in rural communities across America and examines a number of areas where the history of rural people has deviated from the American mainstream. Readers will come away with an enhanced understanding of the interplay between urban and rural areas, a knowledge of the regional differences within the rural United States, and an awareness of the importance of agriculture and rural life to American society. The book is divided into four main sections: regions of rural America, rural lives in context, change and development, and resources for scholars and teachers. Examining the essays on the regions of rural America, readers can discover what makes New England different from the South, and why the Midwest and Mountain West are quite different places. The chapters on rural lives provide an entrée into the social and cultural history of rural peoples – women, children and men – as well as a description of some of the forces shaping rural communities, such as immigration, race and religious difference. Chapters on change and development examine the forces molding the countryside, such as rural-urban tensions, technological change and increasing globalization. The final section will help scholars and educators integrate rural history into their research, writing, and classrooms. By breaking the field of rural history into so many pieces, this volume adds depth and complexity to the history of the United States, shedding light on an understudied aspect of the American mythology and beliefs about the American dream.