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Photographic and descriptive representations of the people and the islands lately acquired from Spain, including Hawaii and the Philippines.
Camilla Fojas explores a broad range of popular culture media—film, television, journalism, advertisements, travel writing, and literature—with an eye toward how the United States as an empire imagined its own military and economic projects. Impressive in its scope, Islands of Empire looks to Cuba, Guam, Hawai‘i, Puerto Rico, and the Philippines, asking how popular narratives about these island outposts expressed the attitudes of the continent throughout the twentieth century. Through deep textual readings of Bataan, Victory at Sea, They Were Expendable, and Back to Bataan (Philippines); No Man Is an Island and Max Havoc: Curse of the Dragon (Guam); Cuba, Havana, and Dirty Dancing: Havana Nights (Cuba); Blue Hawaii, Gidget Goes Hawaiian, and Paradise, Hawaiian Style (Hawai‘i); and West Side Story, Fame, and El Cantante (Puerto Rico), Fojas demonstrates how popular texts are inseparable from U.S. imperialist ideology. Drawing on an impressive array of archival evidence to provide historical context, Islands of Empire reveals the role of popular culture in creating and maintaining U.S. imperialism. Fojas’s textual readings deftly move from location to location, exploring each island’s relationship to the United States and its complementary role in popular culture. Tracing each outpost’s varied and even contradictory political status, Fojas demonstrates that these works of popular culture mirror each location’s shifting alignment to the U.S. empire, from coveted object to possession to enemy state.
"Recent years have witnessed a surge in interest the Pacific world as a hub for the global trade in art objects. Yet, the history of art and architecture has seldom reckoned with another profound aspect of the region's history: its exposure to global conflict. Art and War in the Pacific World provides a new view of the Pacific world, and of global artistic interaction, by exploring how the making, alteration, looting, and destruction of images, objects, buildings, and landscapes intersected with the exercise of force during the British and U.S. military incursions of the eighteenth and nineteenth centuries"--Provided by publisher.
From the late eighteenth century, the hinterlands of Northern Luzon and its Indigenous people were in the crosshairs of imperial and capitalist extraction. Combining the breadth of global history with the intimacy of biography, Adrian De Leon follows the people of Northern Luzon across space and time, advancing a new vision of the United States's Pacific empire that begins with the natives and migrants who were at the heart of colonialism and its everyday undoing. From the emergence of Luzon's eighteenth-century tobacco industry and the Hawaii Sugar Planters' Association's documentation of workers to the movement of people and ideas across the Suez Canal and the stories of Filipino farmworkers in the American West, De Leon traces "the Filipino" as a racial category emerging from the labor, subjugation, archiving, and resistance of native people. De Leon's imaginatively constructed archive yields a sweeping history that promises to reshape our understanding of race making in the Pacific world.
Includes its Report, 1896-19 .
A deeply researched study, this book offers the first sensory history of the British empire in India and the United States in the Philippines, reflecting on how senses structured the colonizers' perception of the colonized (and vice versa) and impacted the British and American imperial projects.
Imperial Archipelago is a comparative study of the symbolic representations, both textual and photographic, of Cuba, Guam, Hawaii, the Philippines, and Puerto Rico that appeared in popular and official publications in the aftermath of the Spanish-American War of 1898. It examines the connections between these representations and the forms of rule established by the U.S. in each at the turn of the century—thus answering the question why different governments were set up in the five sites. Lanny Thompson critically engages and elaborates on the postcolonial thesis that symbolic representations are a means to conceive, mobilize, and justify colonial rule. Colonial discourses construe cultural differences among colonial subjects with the intent to rule them differently; in other words, representations are neither mere reflections of material interests nor inconsequential fantasies, rather they are fundamental to colonial practice. To demonstrate this, Thompson analyzes, on the one hand, the differences among the representations of the islands in popular, illustrated books about the "new possessions" and the official reports produced by U.S. colonial administrators. On the other, he explicates the connections between these distinct representations and the governments actually established. A clear, comparative analysis is provided of the legal arguments that took place in the leading law journals of the day, the Congressional debates, the laws that established governments, and the decisions of the Supreme Court that validated these laws. Interweaving postcolonial studies, sociology, U.S. history, cultural studies, and critical legal theory, Imperial Archipelago offers a fresh, transdisciplinary perspective that will be welcomed especially by scholars and students of U.S. imperialism and its efforts to "extend democracy" overseas, both past and present.