Horror films provide a guide to many of the sociological fears of the Cold War era. In an age when warning audiences of impending death was the order of the day for popular nonfiction, horror films provided an area where this fear could be lived out to its ghastly conclusion. Because enemies and potential situations of fear lurked everywhere, within the home, the government, the family, and the very self, horror films could speak to the invasive fears of the cold war era. I Was a Cold War Monster examines cold war anxieties as they were reflected in British and American films from the fifties through the early sixties. This study examines how cold war horror films combined anxiety over social change with the erotic in such films as Psycho, The Tingler, The Horror of Dracula, and House of Wax.
The various monsters that people 1950s sf - giant insects, prehistoric creatures, mutants, uncanny doubles, to name a few - serve as metaphorical embodiments of a varied and complex cultural paranoia."--BOOK JACKET. "Hendershot provides both theoretical discussion of paranoia and close readings of sf films in order to construct her argument, elucidating the various metaphors used by these films to convey a paranoiac view of a society forever altered by the atomic bomb."--BOOK JACKET.
Keshari Mitchel the most powerful woman in the American music industry—but also one of the most powerful women in organized crime, and she’s determined to finally extricate herself from the game. Beautiful, Wharton-educated, recording industry mogul Keshari Mitchell is leading a double life. As owner of Larger Than Lyfe Entertainment, a multimillion-dollar record label specializing in platinum-selling hip-hop, R&B, and jazz, she is undeniably the most powerful woman in the American music industry. As second-in-command in The Consortium, one of the most powerful, Black organized crime rings on the West Coast, she also happens to be one of the most powerful and most feared women in the United States’ criminal underworld. But she wants out—out of an organization that does not accept resignations. As Larger Than Lyfe unfolds, readers receive a VIP pass into Keshari Mitchell’s very glamorous but extremely dangerous life. Readers get a taste of the decadence, drama, and hedonism so prevalent in the music industry, while also viewing the dark side of organized crime where millions of dollars are made and controlled from the trafficking and sale of cocaine, where law enforcement can be bought and corrupted, and where lives can be snuffed out strategically and without remorse at any given time to protect and expand criminal empires. Keshari Mitchell is on the verge of total meltdown as she works desperately on a daily basis to keep the stressful duality of her life as record industry mogul and increasingly reluctant crime boss separate. This most complex predicament is complicated all the more when she breaks her own rule regarding romantic entanglements and falls in love with the handsome, new, West Coast general counsel at ASCAP (American Society of Composers, Authors and Publishers). Will love of a lifetime be able to survive and surpass the deception of Keshari Mitchell’s double life? And will Keshari Mitchell be able to survive and walk away from the very dark side of her life that is blood in, blood out?
The Indecent Screen explores clashes over indecency in broadcast television among U.S.-based media advocates, television professionals, the Federal Communications Commission, and TV audiences. Cynthia Chris focuses on the decency debates during an approximately twenty-year period since the Telecommunications Act of 1996, which in many ways restructured the media environment. Simultaneously, ever increasing channel capacity, new forms of distribution, and time-shifting (in the form of streaming and on-demand viewing options) radically changed how, when, and what we watch. But instead of these innovations quelling concerns that TV networks were too often transmitting indecent material that was accessible to children, complaints about indecency skyrocketed soon after the turn of the century. Chris demonstrates that these clashes are significant battles over the role of family, the role of government, and the value of free speech in our lives, arguing that an uncensored media is so imperative to the public good that we can, and must, endure the occasional indecent screen.
The book has two primary goals. The first is to challenge and strengthen the reader's understanding of addiction by exploring how others in the field have come to know it. We hope that this will enable the reader to create a clear and logically consistent perspective on addiction. The second goal is to show the reader how theory and research are important to both the prevention and the treatment of substance abuse. This information should provide the reader with an array of strategies for addressing substance abuse problems and help make him or her an effective practitioner"--
The various monsters that people 1950s sf - giant insects, prehistoric creatures, mutants, uncanny doubles, to name a few - serve as metaphorical embodiments of a varied and complex cultural paranoia."--BOOK JACKET. "Hendershot provides both theoretical discussion of paranoia and close readings of sf films in order to construct her argument, elucidating the various metaphors used by these films to convey a paranoiac view of a society forever altered by the atomic bomb."--BOOK JACKET.
Not long after the Allied victories in Europe and Japan, America's attention turned from world war to cold war. The perceived threat of communism had a definite and significant impact on all levels of American popular culture, from government propaganda films like Red Nightmare in Time magazine to Adventures of Rocky and Bullwinkle. This work examines representations of anti-communist sentiment in American popular culture from the early fifties through the mid-sixties. The discussion covers television programs, films, novels, journalism, maps, memoirs, and other works that presented anti-communist ideology to millions of Americans and influenced their thinking about these controversial issues. It also points out the different strands of anti-communist rhetoric, such as liberal and countersubversive ones, that dominated popular culture in different media, and tells a much more complicated story about producers' and consumers' ideas about communism through close study of the cultural artifacts of the Cold War. Instructors considering this book for use in a course may request an examination copy here.
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