From the silent era to the present, film productions have shaped the way the public views campus life. Collaborations between universities and Hollywood entities have disseminated influential ideas of race, gender, class, and sexual difference. Even more directly, Hollywood has drawn writers, actors, and other talent from ranks of professors and students while also promoting the industry in classrooms, curricula, and film studies programs. In addition to founding film schools, university administrators have offered campuses as filming locations. In University Babylon, Curtis Marez argues that cinema has been central to the uneven incorporation and exclusion of different kinds of students, professors, and knowledge. Working together, Marez argues, film and educational institutions have produced a powerful ideology that links respectability to academic merit in order to marginalize and manage people of color. Combining concepts and methods from critical university studies, ethnic studies, native studies, and film studies, University Babylon analyzes the symbolic and institutional collaborations between Hollywood filmmakers and university administrators over the representation of students and, by extension, college life more broadly.
Inaugurated in 1984, America's "War on Drugs" is just the most recent skirmish in a standoff between global drug trafficking and state power. From Britain's nineteenth-century Opium Wars in China to the activities of Colombia's drug cartels and their suppression by U.S.-backed military forces today, conflicts over narcotics have justified imperial expansion, global capitalism, and state violence, even as they have also fueled the movement of goods and labor around the world. In Drug Wars, cultural critic Curtis Marez examines two hundred years of writings, graphic works, films, and music that both demonize and celebrate the commerce in cocaine, marijuana, and opium, providing a bold interdisciplinary exploration of drugs in the popular imagination. Ranging from the writings of Sigmund Freud to pro-drug lord Mexican popular music, gangsta rap, and Brian De Palma's 1983 epic Scarface, Drug Wars moves from the representations and realities of the Opium Wars to the long history of drug and immigration enforcement on the U.S.-Mexican border, and to cocaine use and interdiction in South America, Middle Europe, and among American Indians. Throughout Marez juxtaposes official drug policy and propaganda with subversive images that challenge and sometimes even taunt government and legal efforts. As Marez shows, despite the state's best efforts to use the media to obscure the hypocrisies and failures of its drug policies-be they lurid descriptions of Chinese opium dens in the English popular press or Nancy Reagan's "Just Say No" campaign-marginalized groups have consistently opposed the expansion of state power that drug traffic has historically supported. Curtis Marez is assistant professorof critical studies at the University of Southern California School of Cinema-Television.
Inaugurated in 1984, America's "War on Drugs" is just the most recent skirmish in a standoff between global drug trafficking and state power. From Britain's nineteenth-century Opium Wars in China to the activities of Colombia's drug cartels and their suppression by U.S.-backed military forces today, conflicts over narcotics have justified imperial expansion, global capitalism, and state violence, even as they have also fueled the movement of goods and labor around the world. In Drug Wars, cultural critic Curtis Marez examines two hundred years of writings, graphic works, films, and music that both demonize and celebrate the commerce in cocaine, marijuana, and opium, providing a bold interdisciplinary exploration of drugs in the popular imagination. Ranging from the writings of Sigmund Freud to pro-drug lord Mexican popular music, gangsta rap, and Brian De Palma's 1983 epic Scarface, Drug Wars moves from the representations and realities of the Opium Wars to the long history of drug and immigration enforcement on the U.S.-Mexican border, and to cocaine use and interdiction in South America, Middle Europe, and among American Indians. Throughout Marez juxtaposes official drug policy and propaganda with subversive images that challenge and sometimes even taunt government and legal efforts. As Marez shows, despite the state's best efforts to use the media to obscure the hypocrisies and failures of its drug policies-be they lurid descriptions of Chinese opium dens in the English popular press or Nancy Reagan's "Just Say No" campaign-marginalized groups have consistently opposed the expansion of state power that drug traffic has historically supported. Curtis Marez is assistant professorof critical studies at the University of Southern California School of Cinema-Television.
From the silent era to the present, film productions have shaped the way the public views campus life. Collaborations between universities and Hollywood entities have disseminated influential ideas of race, gender, class, and sexual difference. Even more directly, Hollywood has drawn writers, actors, and other talent from ranks of professors and students while also promoting the industry in classrooms, curricula, and film studies programs. In addition to founding film schools, university administrators have offered campuses as filming locations. In University Babylon, Curtis Marez argues that cinema has been central to the uneven incorporation and exclusion of different kinds of students, professors, and knowledge. Working together, Marez argues, film and educational institutions have produced a powerful ideology that links respectability to academic merit in order to marginalize and manage people of color. Combining concepts and methods from critical university studies, ethnic studies, native studies, and film studies, University Babylon analyzes the symbolic and institutional collaborations between Hollywood filmmakers and university administrators over the representation of students and, by extension, college life more broadly.
When we think of literature and film about farm workers, The Grapes of Wrath may come to mind, but Farm Worker Futurism reveals that the historical role of technology, especially new media, has in fact had much more to do with depicting the lives of farm laborers—Mexican migrants in particular—in the United States. From the late 1940s, when Ernesto Galarza led a strike in the San Joaquin Valley, to the early 1990s, when the United Farm Workers (UFW) helped organize a fast in solidarity with janitors at Apple Computers in the Santa Clara Valley, this book explores the friction between agribusiness and farm workers through the lens of visual culture. Marez looks at how the appropriation of photography, film, video, and other media technologies expressed a “farm worker futurism,” a set of farm worker social formations that faced off against corporate capitalism and government policies. In addition to drawing fascinating links between the worlds envisioned in UFW videos on the one hand and visions of Cold War geopolitics on the other, he demonstrates how union cameras and computer screens put the farm worker movement in dialogue with futurist thinking and speculative fictions of all sorts, including the films of George Lucas and the art of Ester Hernandez. Finally Marez examines the legacy of farm worker futurism in recent cinema and literature, contemporary struggles for immigrant rights, management–labor conflicts in computer hardware production, and the antiprison movement. In contrast with cultural histories of technology that take a top-down perspective, Farm Worker Futurism tells the story from below, showing how working-class people of color have often been early adopters and imaginative users of new media. In doing so, it presents a completely novel analysis of speculative fiction’s engagements with the farm worker movement in ways that illuminate both.
This book was written by a Soldier with Post Traumatic Stress Disorder (PTSD) dealing with his daily struggles with this disorder or in his words “trying to rid the dancing devils in my head”. Post Traumatic Stress Disorder is about the silent trauma from which our soldiers are suffering and the author's own experience. Symptoms of PTSD include flashbacks, intrusive emotions, bad memories, nightmares, explosive outburst and irritability. The author will describe how he deals with PTSD and provide tips that helped him cope with this disorder.
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