Popular Entertainment in Central Europe as a Space for Jewish and Queer Migration Experiences

2021 ◽  
pp. 111-130
Author(s):  
Susanne Korbel
2012 ◽  
Author(s):  
Azara L. Santiago Rivera ◽  
Marisela Lopez ◽  
Arpita Ghosh ◽  
Lindsey Houghton ◽  
Lindsey Schaaf ◽  
...  

2013 ◽  
Vol 10 (1) ◽  
pp. 57-70 ◽  
Author(s):  
Galia Sabar

This paper analyses homecoming experiences of African labour migrants who lived in Israel and returned home. Using qualitative research methodologies, I discerned what factors - material and non-material - determine the relative success of the return process. Focusing on these factors’ effects, I offer a new understanding of labour migrants’ homecoming experiences: those who are “content,” “readjusting,” or “lost. Following Ulrich Beck's (2006) analysis of cosmopolitanism, I suggest that these categories portray significant new life spaces that are neither what they left nor what they came from, and are dynamic, fragile, and constantly changing. In some cases the influence of economic assets on the returned migrants’ homecoming experience was indeed crucial, in many other cases the challenges of reconnecting oneself with home, family, and existing social norms and customs was much more influential on their homecoming experience including on their sense of well-being. Furthermore, some of the non-material goods such as individualization, personal responsibility, and long-term planning proved useful, others such as trust, particularly in relation to family, were detrimental.


Author(s):  
Phyllis Lassner

Espionage and Exile demonstrates that from the 1930s through the Cold War, British Writers Eric Ambler, Helen MacInnes, Ann Bridge, Pamela Frankau, John le Carré and filmmaker Leslie Howard combined propaganda and popular entertainment to call for resistance to political oppression. Instead of constituting context, the political engagement of these spy fictions bring the historical crises of Fascist and Communist domination to the forefront of twentieth century literary history. They deploy themes of deception and betrayal to warn audiences of the consequences of Nazi Germany's conquests and later, the fusion of Fascist and Communist oppression. Featuring protagonists who are stateless and threatened refugees, abandoned and betrayed secret agents, and politically engaged or entrapped amateurs, all in states of precarious exile, these fictions engage their historical subjects to complicate extant literary meanings of transnational, diaspora and performativity. Unsettling distinctions between villain and victim as well as exile and belonging dramatizes relationships between the ethics of espionage and responses to international crises. With politically charged suspense and narrative experiments, these writers also challenge distinctions between literary, middlebrow, and popular culture.


2015 ◽  
Vol 1 (1) ◽  
pp. 64-88
Author(s):  
Quinlan Miller

This article reconstructs queer popular culture as a way of exploring media production studies as a trans history project. It argues that queer and trans insights into gender are indispensible to feminist media studies. The article looks at The Ugliest Girl in Town series (ABC, 1968–69), a satire amplifying a purported real-life fad in flat chests, short haircuts, and mod wigs, to restore texture to the everyday landscape of popular entertainment. Approaching camp as a genderqueer practice, the article presents the program as one of many indications of simultaneously queer and trans representation in the new media moment of the late 1960s. Behind-the-scenes visions of excavated archival research inform an analysis of the series as a feminist text over and against its trans misogyny, which evaluates and ranks women based on their looks, bodies, and appearance while excessively sexualizing and even more stringently appraising, policing, and punishing trans women, women perceived to be trans, and oppositional forms of femininity. The program captures both the means of gender regulation and detachment from it, the experience of gender embodiment, and the promise of presenting and being perceived as many genders. Ugly is an awful word in the way it is usually wielded, but it can be reclaimed. Examining this rarely cited and often misconstrued Screen Gems series helps to demonstrate a more equitable distribution of creative credit for queer trans content across the television industry and the subcultures it commodified in the 1960s.


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