The Bad Sixties

2018 ◽  
Author(s):  
Kristen Hoerl
Keyword(s):  
The United States ◽  
Television Programs ◽  
Structural Racism ◽  
Protest Movements ◽  
Hollywood Films ◽  
Wide Range ◽  
Western Imperialism ◽  
The 1960S ◽  
Justice Movements ◽  
Reagan Era

Over the past four decades, a wide range of Hollywood films and television programs have referenced events and individuals associated with the 1960s counterculture, anti-war, and Black Power movements. This book analyses narrative patterns and recurring character types across a wide variety of fictionalized film and television portrayals of the late sixties to illustrate how Hollywood has consistently derided and trivialized the period’s protest movements. The Bad Sixties argues that Hollywood has promulgated selective amnesia by decontextualizing spectacular events that have come to define the decade from the motives that drove dissidents. Hollywood’s consistently negative depictions of protest function rhetorically as civics lessons by placing radical dissent, including criticisms of Western imperialism, structural racism, patriarchy, and two-party politics, as outside of the boundaries of legitimate civic engagement in the United States. The book concludes that Hollywood’s vision of the bad sixties has bolstered conservative agendas since the Reagan Era with profound and troubling implications for democracy and social justice movements today.

The Sixties in History and Entertainment Memory

2018 ◽  
pp. 27-60
Author(s):  
Kristen Hoerl
Keyword(s):  
Black Power ◽  
New Left ◽  
Television Programs ◽  
Hollywood Films ◽  
Wide Range ◽  
The Sixties ◽  
Present Decade ◽  
Entertainment Television ◽  
Tv Shows ◽  
The 1960S

This chapter briefly reviews the range of dissident movements that were active during the last half of the 1960s. Attending to Black Power, Third World activism, the New Left, anti-war movement, counterculture, women’s liberation, and GLBT radicalism, this chapter explains why dissident groups became increasingly radical and alienated from mainstream politics and society. This chapter also summarizes the variety of Hollywood films and television programs that have featured the counterculture, Black Power and anti-war movements from 1966 to the present decade. These films and TV shows illustrate how late sixties radicalism influenced entertainment television. Although movies and television programs have provided a wide range of depictions, they have tended to foreground the spectacle of dissent and countercultural lifestyles over nuanced attention to radical politics or the motives underlying protesters’ actions.

Zines, Half-Lives, and Afterlives: On the Temporalities of Social and Political Change

PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 140-150 ◽  
Author(s):  
Janice Radway
Keyword(s):  
United States ◽  
Science Fiction ◽  
Special Interest ◽  
Political Change ◽  
The United States ◽  
Alternative Press ◽  
Wide Range ◽  
Do It Yourself ◽  
Mainstream Society ◽  
The 1960S

The term zine is a recent variant of fanzine, a neologism coined in the 1930s to refer to magazines self-published by Aficionados of science fiction. Until zines emerged as digital forms, they were generally defined as handmade, noncommercial, irregularly issued, small-run, paper publications circulated by individuals participating in alternative, special-interest communities. Zines exploded in popularity during the 1980s when punk music fans adopted the form as part of their do-it-yourself aesthetic and as an outsider way to communicate among themselves about punk's defiant response to the commercialism of mainstream society. In 1990, only a few years after the first punk zines appeared, Mike Gunderloy made a case for the genre's significance in an article published in the Whole Earth Review, one of the few surviving organs of the 1960s alternative press in the United States. He celebrated zines' wide range of interests and the oppositional politics that generated their underground approach to publication.

Asian American Experimental Theater and Solo Performance

2019 ◽  
Author(s):  
Dan Bacalzo
Keyword(s):  
United States ◽  
Asian American ◽  
The United States ◽  
Experimental Theater ◽  
Avant Garde ◽  
Wide Range ◽  
Racial Perceptions ◽  
And Performance ◽  
The 1960S ◽  
A Minor

Beginning in the 1960s and continuing into the present day, a wide range of performers and playwrights have contributed to Asian American experimental theater and performance. These works tend toward plot structures that break away from realist narratives or otherwise experiment with form and content. This includes avant-garde innovations, community-based initiatives that draw on the personal experiences of workshop participants, politicized performance art pieces, spoken word solos, multimedia works, and more. Many of these artistic categories overlap, even as the works produced may look extremely different from one another. There is likewise great ethnic and experiential diversity among the performing artists: some were born in the United States while others are immigrants, permanent residents, or Asian nationals who have produced substantial amounts of works in the United States. Several of these artists raise issues of race as a principal element in the creation of their performances, while for others it is a minor consideration, or perhaps not a consideration at all. Nevertheless, since all these artists are of Asian descent, racial perceptions still inform the production, reception, and interpretation of their work.

Imagining European Identity: French Elites and the American Challenge in the Pompidou–Nixon Era

2010 ◽  
Vol 19 (2) ◽  
pp. 133-149 ◽  
Author(s):  
AURÉLIE ÉLISA GFELLER
Keyword(s):  
United States ◽  
Foreign Policy ◽  
The United States ◽  
European Identity ◽  
History Writing ◽  
Charles De Gaulle ◽  
Wide Range ◽  
The 1960S ◽  
Year Of Europe ◽  
De Gaulle

AbstractCharles de Gaulle has cast a long shadow over French political history and history writing. In exploring the French response to the United States' 1973 ‘Year of Europe’ initiative, this article challenges the dominant scholarly paradigm, which emphasises continuity between the 1960s and the 1970s. Drawing on a wide range of French and US archives, it demonstrates that renewed concerns about US power spurred the French elites both to reappraise the value of collective European action in foreign policy and to foster a pioneering concept: a politically anchored – as opposed to a geographically circumscribed – ‘European identity’.

scholarly journals THE NATIONAL ORGANIZATION FOR WOMEN AND THE DEMOCRATIC PARTY IN REAGAN'S AMERICA

2020 ◽  
pp. 1-23
Author(s):  
JOE J. RYAN-HUME
Keyword(s):  
Republican Party ◽  
Democratic Party ◽  
The United States ◽  
National Organization ◽  
National Organization For Women ◽  
1960S And 1970S ◽  
Demographic Shifts ◽  
The 1960S ◽  
Reagan Era ◽  
The Impact

Abstract This article explores the emergence of women in the United States as a liberal voting group in the 1980s and the impact of this development on the power of liberalism, amid the Reagan revolution – an era often viewed as the apogee of conservatism. As the Republican party shifted in a more conservative direction in the 1980s, gender started to correlate with partisan preference/election outcomes in enough contests to give credence to the belief that women were becoming a decidedly liberal voting bloc. Contemporaneously, the equality-seeking movements of the 1960s and 1970s began institutionalizing their operations and exploiting these demographic shifts, becoming more entrenched than ever within the internal politics of the Democratic party. The National Organization for Women (NOW), the largest liberal women's group, proved to be particularly successful in this respect. Therefore, by presenting substantial archival evidence that liberal politicians and organizations remained a dynamic political force during the 1980s, this article details the growing organizational prowess of NOW and examines how liberals resisted the conservative challenge to fashion a political approach suited to the ‘Reagan Era’.

scholarly journals ENHANCING SCIENTIFIC SUPPORT FOR NATIONAL SECURITY POLICY MAKING: INTERNATIONAL EXPERIENCE

2021 ◽  
Vol 18 (1) ◽  
pp. 6-28
Author(s):  
T. Alekseeva ◽  
V. Nazarov ◽  
D. Afinogenov
Keyword(s):  
Strategic Planning ◽  
National Security ◽  
Policy Making ◽  
Security Policy ◽  
The United States ◽  
Early 21St Century ◽  
International Environment ◽  
Wide Range ◽  
The 1960S ◽  
The One

The article examines evolution of scholarly approaches towards the phenomenon of the “national security.” By the early 21st century this notion found its way in the official strategic documents of a wide range of states. The authors examine the Russian and international record of analysis in the field of national security, and assess the adequacy of existing views on this subject taking in the account emerging threats, risks and challenges, as well as the tasks of sustainable development of a country in the social, economic, political, information, spiritual and other areas. They start by presenting the early conceptualizations of this term in the debates of American experts in the 1950s and the 1960s. An important innovation of that period was disentanglement of the national security from purely territorial and military threat, by preparing for other types of contingencies. The article additionally examines the struggle between two alternative approaches towards protecting the national security in the United States: the one founded on unilateral domination and the other prioritizing collective actions. It demonstrates that the one important result of the Western debates was the emergence of a new field of study defined by policy relevant studies, which produce useful, original, and verifiable inferences, which are then injected in decision-making process. In order to promote a similar institutionalized expertise, the article suggests seceding the study of the national security in a separate discipline. This step will enable to further promote the training of specialists not only in the field of national security and strategic planning, but also political scientists and future specialists for the public service. The need for this is obviously related to the tasks of improving the quality of policy making and strategic planning in the Russian Federation, the implementation of national projects in an extremely complex international environment.

Nicholas Ray

2014 ◽  
Author(s):  
Steven Rybin ◽  
Will Scheibel
Keyword(s):  
United States ◽  
New York ◽  
World War Ii ◽  
The United States ◽  
Test Case ◽  
Frank Lloyd Wright ◽  
Final Project ◽  
Hollywood Films ◽  
The 1960S ◽  
Nicholas Ray

Nicholas Ray (1911–1979), the director of Rebel Without a Cause, Johnny Guitar, In a Lonely Place, and other Hollywood films from 1947 to 1958, came to filmmaking with a diverse artistic background from the 1930s. As a student of architecture, he was an apprentice of Frank Lloyd Wright, and as an actor, he was a member of the socialist-leaning New York City acting company the Theatre of Action, which associated with the Group Theatre. He also served in various New Deal agencies—the Works Progress Administration, the U.S. Department of Agriculture’s Resettlement Administration, and the Office of War Information—that immersed him in American folk culture before moving to Hollywood. In cinema studies, he is best known as the American test case for auteurist film criticism. Discovered by the French critics at Cahiers du Cinéma after World War II, Ray was celebrated as an auteur, a director with a consistent signature style and personal vision who (like an author) is understood to be the single force of control that structures the entire film. Yet, at the mercy of producers and executives, he also worked within classical studio and genre systems and was generally unknown or ignored in the United States at this time. After directing his final studio film, Party Girl, in 1958, Ray spent the late 1950s and 1960s outside of Hollywood, helming a series of international co-productions. Throughout the 1960s, he would struggle to finance projects independently; his unrealized efforts during this period include an adaptation of the Dylan Thomas story The Doctor and the Devils and a film about the trial of the Chicago Seven. Ray spent much of the 1960s outside of the United States, attending retrospectives of his work, living in Paris during the student protests of 1968, and attempting to put together production deals. In the 1970s, Ray returned to America, eventually taking a job as a film professor at Harpur College at Binghamton University, State University of New York. With his students, Ray would embark on his ambitious final project, a multi-image experimental film entitled We Can’t Go Home Again. The film would remain unfinished at the time of the director’s death, but in 2011, it was restored by his widow, Susan Ray. While underappreciated by critics in America during his career in the 1950s, the critical studies referenced below demonstrate the ongoing importance of Ray’s films to cinema scholars.

John Wayne's World: Israel as Vietnam in Cast a Giant Shadow (1966)

2019 ◽  
Vol 53 (3) ◽  
pp. 725-743
Author(s):  
RODNEY WALLIS
Keyword(s):  
United States ◽  
Vietnam War ◽  
The United States ◽  
American Military ◽  
Political Beliefs ◽  
Hollywood Films ◽  
Military Presence ◽  
The Alamo ◽  
The 1960S ◽  
Production Company

Melville Shavelson's Cast a Giant Shadow (1966) stands alongside Otto Preminger's Exodus (1960) as one of the most notable Hollywood films to center on the founding of Israel. In this paper I argue that Cast a Giant Shadow is less concerned with the peculiarities of the nascent stages of the Arab–Israeli conflict, and instead functions as an unabashed endorsement of American military interventionism in foreign conflicts at a time in which the United States was dramatically escalating its military presence in Vietnam. The film is positioned as the second installment in an unofficial trilogy of overtly propagandistic pro-interventionist cinema produced by John Wayne's production company Batjac in the 1960s, alongside The Alamo (1960), Wayne's directing debut, and the notoriously jingoistic pro-Vietnam War film The Green Berets (1968). My analysis of this largely overlooked entry in the Wayne oeuvre ultimately reveals how Israel enabled Wayne to effectively put his art at the service of his political beliefs.

Income Security Policies in the United States: The Inevitability and Consequences of Retrenchment

1987 ◽  
Vol 7 (1) ◽  
pp. 1-32 ◽  
Author(s):  
John L. Palmer
Keyword(s):  
Economic Growth ◽  
The United States ◽  
Welfare States ◽  
Security Policies ◽  
Lower Income ◽  
Income Security ◽  
Public Resources ◽  
The 1960S ◽  
Reagan Era ◽  
European Welfare States

ABSTRACTDuring the 1960s and early 1970s, strong economic growth and highly expansionary income security policies led to considerable progress for the entire American population with respect to major income security goals. However, in the last fifteen years much of this progress has been either arrested or reversed, particularly for the non-aged, as economic growth slowed and income security policies ceased to expand and, in some cases, contracted. This retrenchment was the inevitable consequence of numerous phenomena which preceded, and were reinforced by the Reagan era. American income security policies are not likely to contract generally in the future, nor to resume expanding in a direction characteristic of many Western European welfare states. Rather, the prospects are for slow economic growth, higher targetting of programs by income in some areas, and marginal expansions requiring minimal new commitments of public resources in others. Major income security problems, especially among the lower income population, will remain.

scholarly journals Resistance and the Radical Imagination: A Reflection on the Role of the Critical Criminologist in Social Movements

2021 ◽  
Author(s):  
Laura Naegler
Keyword(s):  
Social Movements ◽  
Critical Reflection ◽  
Historical Context ◽  
The United States ◽  
Theory And Practice ◽  
Protest Movements ◽  
Occupy Movement ◽  
Wide Range ◽  
Intellectual Leadership

AbstractAt times of global unrest and the emergence of a wide range of protest movements, recent intra-disciplinary criminological debates on the potentials and limits of resistance suggest a paradoxical trend. Critical criminologists—in particular, those associated with the ultra-realist perspective—have become increasingly skeptical of the idea of “resistance,” itself. In the context of these discussions, scholars have resorted to dismissing oppositional activities—including social movements and their different forms of protest—that are both intended and recognized as resistance. In my contribution to this debate, and in response to Jeff Ferrell’s (2019) article, “In Defense of Resistance,” I provide a critical reflection on the analysis of social movements in both ultra-realist and cultural criminological scholarship. Drawing from my ethnographic research with the (post-)Occupy movement in the United States, I argue that the dismissive reading of social movements’ resistance and the calls for stronger political leadership are the result of a narrow analytical lens applied to movements, their temporalities, and their historical context(s). In addition, I contend that the harsh criticism of social movements by ultra-realists connects to the aim of developing an intellectual leadership concerned with informing social movement practice and strategy “from above.” Here, as I maintain, the theory and practice of militant research, or militancia de investigación, as per the Colectivo Situaciones, challenges this understanding of intellectual leadership. The insights provided by radical collective knowledge production in social movements, and their critique of the institutional frameworks of the neoliberal university, allow for a critical reflection on the role of academia in resistance. This critical reflection can generate possibilities for social movements’ knowledge and radical imaginations to influence academic theorizing.

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