The rugged adventurer

2021 ◽  
pp. 170-203
Author(s):  
Gillian Kelly
Keyword(s):  
Black Swan ◽  
Cruise Ship ◽  
Black And White ◽  
Production Values ◽  
Clarence Brown ◽  
The 1950S

This chapter explores the final genre with which Power was associated and perhaps best remembered for: the action-adventure film. Second only to his output in drama, Power starred in 11 action-adventure films between 1939 and 1957, some of which have very different themes and production values. While The Rains Came (Clarence Brown, 1939) was his only action-adventure film of the 1930s, in which he plays an Indian doctor with a turban and moustache, Power made an additional six action-adventure films in the 1940s and another four in the 1950s. Primarily remembered today as a swashbuckler as a result of his role in The Mark of Zorro (Rouben Mamoulian, 1940), Power’s other action-adventure films include The Black Swan (Henry King, 1942), Untamed (Henry King, 1955) and his final film of the genre: Abandon Ship! (Richard Sale, 1957). The latter was based on true events and made by Power’s own company, Copa Productions. Filmed in stark black and white and set on a small lifeboat, when the captain of a destroyed cruise ship dies, Power’s character is put in charge and must decide who lives and who dies since the vessel they are on cannot possibly hold them all.

The Black and White of Newspapers

2017 ◽  
Author(s):  
Gwyneth Mellinger
Keyword(s):  
Civil Rights ◽  
First Century ◽  
Hiring Practices ◽  
Black And White ◽  
Newspaper Editors ◽  
History Of ◽  
The 1950S ◽  
American Society ◽  
Professional Norm

This introductory chapter delves into the history of the American Society of Newspaper Editors (ASNE) and its Goal 2000 initiative in order to examine why ASNE members had hesitated to implement civil rights reforms in their newsroom hiring practices despite passionate advocacy by a series of ASNE leaders and the expenditure of unprecedented industry resources. It traces the ASNE's reckoning with inequality from the 1950s into the twenty-first century by first exploring the ASNE's construction of a professional norm that marginalized journalists and editors who were not white, not male, and not heterosexual; and then traces the organization's subsequent attempts to democratize newsroom hiring.

White Brothers–Black Strangers: Dutch Calvinist Churches and Apartheid in South-Africa

Exchange ◽  
2009 ◽  
Vol 38 (4) ◽  
pp. 365-380 ◽  
Author(s):  
Erica Meijers
Keyword(s):  
South Africa ◽  
The Netherlands ◽  
Church History ◽  
Black And White ◽  
Reformed Church ◽  
Protestant Churches ◽  
The 1950S ◽  
Reformed Churches ◽  
The Church

AbstractAfter apartheid was abolished in 1994, fierce discussions within the Dutch churches on the theme of apartheid were quickly forgotten. However, we could still learn from this important chapter of church history. Erica Meijers argues that the debates during the 1970s and 1980s have their roots in the changes which the churches underwent in the 1950s and 1960s. Apartheid confronted protestant churches with their own images of black and white, their role in the colonial area and their view of the role of the church in society. All this led to a decreasing solidarity with the Afrikaners and a growing focus on black reality in South Africa. White brothers became strangers and black strangers became allies. This is in essence the transformation of attitude which both the Netherlands Reformed Church and the Reformed Churches in the Netherlands underwent between 1948 and 1972.

scholarly journals The Beach: The Politics of Gender in Modern Day Egypt

1970 ◽  
pp. 48-59
Author(s):  
Yasmine Allam
Keyword(s):  
Social Norms ◽  
Sexual Politics ◽  
Family Unit ◽  
Black And White ◽  
The 1950S

Egyptian photography artist Nermine Hammam (b. 1967) created her controversialseries, Escaton, between 2009 and 2013, to document changing social norms in anincreasingly conservative Egypt. Photographing holidaymakers on a beach in Egypt,she depicts heavily veiled female bathers enjoying the sea alongside male companions.Hammam sets these images against grainy black and white photographs taken ofher grandparents basking in European attire, on a similar beach, in a secular andWesternized Egypt of the 1950s. As these disparate slices of time and place cometogether, what emerges is a strong and unexpected record of sexual politics in modernday Egypt, emphasized always by the sensuality of the water surrounding the figuresas a backdrop. Behind the stark differences in the outward aesthetics of dress, onebecomes aware of a powerful repetition of poses across both sets of images. The centralspace occupied by the woman remains unchanged despite society’s growing efforts toveil and conceal her. Confident and self-possessed, the woman as wife and mother sitsat the heart of each family unit holding the viewer with her powerful gaze, admittingus into her space. Men occupy the periphery of these images, leaning into the woman’sspace as footnotes to her central narrative. Unexpectedly, the camera reveals acontinuum of female strength across time.

Wage Compression and Wage Inequality Between Black and White Males in the United States, 1940–1960

1994 ◽  
Vol 54 (2) ◽  
pp. 358-381 ◽  
Author(s):  
Thomas N. Maloney
Keyword(s):  
United States ◽  
Wage Inequality ◽  
Wage Gap ◽  
Wage Structure ◽  
The United States ◽  
Black And White ◽  
White Males ◽  
Worker Characteristics ◽  
The 1950S ◽  
Wage Compression

The gap between the mean wages of black men and white men in the United States narrowed substantially between 1940 and 1950. There was, however, almost no change in this wage gap between 1950 and 1960. Some of this discontinuity in the path of black progress can be explained by general changes in the wage structure—wage compression in the 1940s and slight expansion in the 1950s. However, most of the gains of the 1940s were driven by race-specific factors, including increasing relative wages controlling for worker characteristics. These race-specific gains ceased in the 1950s.

International Organizations and Development as a Global Mission

2019 ◽  
pp. 89-106
Author(s):  
Sara Lorenzini
Keyword(s):  
United Nations ◽  
World Bank ◽  
International Organizations ◽  
Modernization Theory ◽  
Black And White ◽  
Global Mission ◽  
The World Bank ◽  
The World ◽  
The United Nations ◽  
The 1950S

This chapter explores how the growing awareness of the global dimensions of development had made international organizations, especially the United Nations, crucial to development thinking and practice. International organizations' involvement in development proceeded in stages, converging toward “one size fits all,” universal technocratic knowledge, and solutions unconnected to cultural specificities, even if distinctive in their ideological orientation. In the 1990s, the naturalized French diplomat Stéphane Hessel wrote that development was a concept that informed the whole structure of the United Nations and gave it meaning. He claimed it took forty years to move from the black-and-white reasoning of the 1950s toward a more nuanced view. The chapter tells the story of this transformation. International organizations that had acted as agencies of civilization in late colonial times became arenas in which different ideas of modernity were articulated. Some, like the World Bank, were clearly the expression of a Western capitalist mindset, whereas others, like the United Nations, provided a home for both technocratic thinking and anti-imperialist ideas that differed from the prevailing modernization theory.

I Died a Million Times

2020 ◽  
Author(s):  
Robert Miklitsch
Keyword(s):  
Outer Space ◽  
The United States ◽  
Film Noir ◽  
Black And White ◽  
Crime Film ◽  
Left Handed ◽  
Human Endeavor ◽  
Rearview Mirror ◽  
The 1950S ◽  
Private Eye

The Age of Affluence. Ike and Mamie. The Man in the Gray Flannel Suit. In the United States, the 1950s have been memorialized as the Pax Americana. A similar stereotypical view has characterized the 1950s crime film. While the big-shot gangster dominated the headlines in the 1930s and the private eye graced the 1940s, both the gangster picture and film noir were declared DOA in the 1950s. There is, of course, another, less than perfect picture of the ’50s in which the tropes associated with the decade are rather darker. Commies. Aliens from outer space. The bomb. I Died a Million Times argues that the crime film is alive and well in the 1950s in the generic guise of gangster noir. The corpus delicti is a trio of subgenres that crystallized in the period and that correlates with the above symptomatic events: the syndicate picture, the rogue cop film, and the heist movie. These subgenres and the issues associated with them--the “combo” as capitalism incarnate, the letter of the law versus the lure of vigilantism, and the heist as a “left-handed form of human endeavor”--may appear black and white in the rearview mirror of history, but from another perspective, one that’s attentive to issues such as race (The Phenix City Story), class (The Prowler), gender (The Big Heat), sexuality (The Big Combo), the nation (The Asphalt Jungle), and the border (Touch of Evil), these signal, not-so-generic films are as vibrant and colorful as the decade itself.

scholarly journals Beyond the walls of the lunatic asylum: Christopher Hope’s early fiction

Literator ◽  
2004 ◽  
Vol 25 (2) ◽  
pp. 45-62
Author(s):  
F. Wood
Keyword(s):  
South Africa ◽  
South African ◽  
Short Story ◽  
Lunatic Asylum ◽  
Black Swan ◽  
Short Story Collection ◽  
Story Collection ◽  
The 1950S ◽  
Significant Bearing

This article examines an under-explored aspect of Christopher Hope’s early fiction: its capacity to suggest the potential for imaginative and psychological freedom through its comic, carnivalesque qualities. Hope produced various novels and stories set in South Africa during the 1950s and 1960s, including A Separate Development (1981), Black Swan (1987) and the short story collection Learning to Fly (1990). It is argued that Hope’s vision in these works tends to be perceived as essentially satirical, ultimately limited by bleakness and pessimism; while the carnivalesque, potentially liberatory aspects of his writing tend to be overlooked. By utilising comic and carnivalesque features Hope’s work indeed offers creative, liberated ways of apprehending reality. Mikhail Bakhtin’s discussion of the ability of the carnivalesque to open up new ways of seeing, through the “nonofficial” versions of reality that it proffers, is particularly relevant in this regard. It is argued that this latter aspect of Hope’s work is especially significant, bearing in mind the sense of constraint and confinement that seemed to dominate much of South African fiction during the apartheid era and that still remains a key concern in many postapartheid novels.

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