Between 1995 and 2000, the number of music videos airing on MTV dropped by 36 percent. As an alternative to the twenty-four-hour video jukebox the channel had offered during its early years, MTV created an original cycle of scripted reality shows, including Laguna Beach, The Hills, The City, Catfish, and Jersey Shore, which were aimed at predominantly white youth audiences. In Millennials Killed the Video Star Amanda Ann Klein examines the historical, cultural, and industrial factors leading to MTV's shift away from music videos to reality programming in the early 2000s and 2010s. Drawing on interviews with industry workers from programs such as The Real World and Teen Mom, Klein demonstrates how MTV generated a coherent discourse on youth and identity by intentionally leveraging stereotypes about race, ethnicity, gender, and class. Klein explores how this production cycle, which showcased a variety of ways of being in the world, has played a role in identity construction in contemporary youth culture—ultimately shaping the ways in which Millennial audiences of the 2000s thought about, talked about, and embraced a variety of identities.
A series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties. American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories—the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval.
In the stories and anecdotes that make up this book, the reader will discover the invincible power that resides in every human being to survive vicissitudes and reach a renaissance of peace. Ann and Joel Klein write their history from their personal perspectives and follow the time-honored story-telling tradition of their people that celebrates joy and sorrow with the eternal hope that life is beautiful. This powerful meaning of their own and their extended family's lives on two continents under four divergent political systems breaks through their words. The stories tell a couple's private and professional life in one particular setting. Their significance lies in the inescapable recognition that every man and woman in any setting will find relevance to his or her life in them.
Bringing together columns, speeches, essays, and reportage, the author of "No Logo" offers a bird's-eye view of the life of an activist and the development of the "anti-globalization" movement from the Seattle World Trade Organization protests in 1999 through September 11, 2001.
Successful businesswoman Tori St. John is haunted by the verse “From whom much is given, much is required.” Poised at the glass ceiling with sledgehammer in hand, Tori decides to do something with real impact. she and her husband Phillip adopt two children from a Bulgarian orphanage. At five, Lydia is sugar-coated dynamite. Two-year-old Gabe avoids eye contact, prefers a silver bowl over shiny new toys and fears the vacuum cleaner. His diagnosis of autism leaves Tori depressed, obsessed with helping her son and angry at God. She adores her quirky, charming son, but what will his future be like if Tori can’t free him? Tori plunges into the special-needs world with the vigor that made her a business diva. This time the stakes are critical. As she struggles with Gabe’s disability, Tori’s world unravels. School’s not working for Gabe, their church rejects him, Lydia’s resentment escalates and a sultry co-worker is after Phillip. As she battles to save her family, Tori must learn how to balance a life she can't control and embrace a different concept of normal.
This vol. is the first published product of the Pennsylvania Flora Database, created & maintained at the Morris Arboretum of the U. of Pennsylvania. The database has its roots in the work of Edgar T. Wherry, John M. Fogg, Jr., & Herbert A. Wahl, the Atlas of the Flora of PennsylvaniaÓ (Wherry et al. 1979), published by the Morris Arboretum. Over a period of 40 years, Wherry & his colleagues gathered data from the major Pennsylvania herbaria & manually placed a quarter of a million dots on over 3500 maps (Fogg 1944). The Pennsylvania Flora Database retains the emphasis on specimen-based, site-specific data. The checklist of included taxa has undergone extensive review to reflect recent taxonomic & nomenclatural revisions. Questionable specimens have been re-evaluated with the result that several taxa included in earlier works were dropped. Recent discoveries have been added & distribution data has been updated. This vol. also includes collections made in the 1990s in conjunction with the Pennsylvania Natural Diversity Inventory (PNDI), the state heritage program. The maps present the accumulated collection of information for each taxon as represented in the herbaria. Illus., reprinted 1996.
Provides insight into the unique relationship that exists between women and animals and includes contributions from Diane Ackerman, Annie Dillard, Jane Goodall, Temple Grandin, and Barbara Kingsolver.
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