Suchergebnisse

At the dawn of the Cold War era, forty-one women working in American radio and television were placed on a media blacklist and forced from their industry. The ostensible reason: so-called Communist influence. But in truth these women-among them Dorothy Parker, Lena Horne, and Gypsy Rose Lee-were, by nature of their diversity and ambition, a threat to the traditional portrayal of the American family on the airwaves. This book describes what American radio and television lost when these women were blacklisted, documenting their aspirations and achievements. Through original archival research and access to FBI blacklist documents, 'The Broadcast 41' details the blacklisted women's attempts in the 1930s and 1940s to depict America as diverse, complicated, and inclusive

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List of Figures -- Acknowledgments -- Introduction -- 1 Sound Out of Time: Modernity's Echo -- 2 Maintaining the Order of Things: Class, the Gospel of Scientific Efficiency, and the Invention of Policy Expertise in America, 1865-1921 -- 3 Sensationalism, Objectivity, and Reform in Turn-of-the-Century America -- 4 "All Love Making Scenes Must Be Normal": Pennsylvania Movie Censorship in the Progressive Era -- 5 Only Flossy, High-Society Dudes Would Smoke 'Em: Gender and Cigarette Advertising in the Nineteenth Century -- 6 Trotting Horses and Moving Pictures: A Sporting View of Early Cinema -- 7 "Girls Who Come to Pieces": Women, Cosmetics, and Advertising in the Ladies' Home Journal, 1900-1920 -- 8 Race Betterment and Class Consciousness at the Turn of the Century, or Why It's Okay to Marry Your Cousin -- 9 Conspicuous Whiteness: The New Woman, the Old Negro, and the Vanishing Past of Early Brand Advertising -- 10 Constructions of Violence: Labor, Capital, and Hegemonic Struggle in the Pullman Strike of 1894 -- Afterword -- About the Editor and Contributors -- Index

The concept of class interest is employed in a critique of the postmodern tendency in Western feminism, arguing that the postmodernist move to subsume the materiality of women's bodies to the realm of discourse has resulted in the privileging of activities, perspectives, & interests specific to the intellectual class of capitalist societies. Postmodern strands of feminism that devalue class interests while stressing the concepts of power & politics are criticized, focusing on the class interests that are served by the attack on the Marxist tradition in the postmodern, feminist work of Judith Butler (1992) & others. It is shown that feminists have disinherited the concept of class because it tends to downplay the significance of race & gender differences within the sphere of intellectual activities. It is concluded that contemporary feminism is in danger of allying itself with factions that support women's economic oppression by neglecting the concept of class interests. 32 References. W. Howard

The oppression of Afghan women by fundamentalist groups was barely addressed by the corporate media until it proved rhetorically useful for US elites to argue for military intervention as a means to liberate the women of that country. This article critically interrogates this claim, and analyzes media coverage of Afghan women before and after the US invasion on 7 October 2001. First, we present an overview of conflicts in Afghanistan, focusing on the US's economic and strategic interests in the region, and its role in supporting and funding Islamic fundamentalism. Attention to this context, absent from media accounts, is essential to understanding the plight of Afghan women in all its complexity. Second, we examine news frameworks and the ways in which Afghan women figure in imperialist agendas in a thoroughly Orientalist manner. Finally, we turn to the outcome of the war and the situation for Afghan women today.

"The Ghost Reader: Recovering Women's Contributions to Media Studies offers a fresh perspective on the intellectual history of the field of media studies, a broad scholarly field that encompasses the interdisciplinary and overlapping fields of media studies, cultural studies, and communication studies. By recovering the work of the diverse group of women who labored at the margins of media studies as it took shape during the formative years of communication research between the 1930s and the 1950s, and providing scholarly contexts for this work, The Ghost Reader shows that "intersectional considerations" were key modes of engagement for intellectuals, academics, and activists who happened to be women. They did so decades before feminist perspectives were reintegrated into histories of the field."--