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How is it that American intellectuals, who had for 150 years worried about the deleterious effects of affluence, more recently began to emphasize pleasure, playfulness, and symbolic exchange as the essence of a vibrant consumer culture? The New York intellectuals of the 1930s rejected any serious or analytical discussion, let alone appreciation, of popular culture, which they viewed as morally questionable. Beginning in the 1950s, however, new perspectives emerged outside and within the United States that challenged this dominant thinking. Consuming Pleasures reveals how a group of writers shifted attention from condemnation to critical appreciation, critiqued cultural hierarchies and moralistic approaches, and explored the symbolic processes by which individuals and groups communicate.Historian Daniel Horowitz traces the emergence of these new perspectives through a series of intellectual biographies. With writers and readers from the United States at the center, the story begins in Western Europe in the early 1950s and ends in the early 1970s, when American intellectuals increasingly appreciated the rich inventiveness of popular culture. Drawing on sources both familiar and newly discovered, this transnational intellectual history plays familiar works off each other in fresh ways. Among those whose work is featured are Jürgen Habermas, Roland Barthes, Umberto Eco, Walter Benjamin, C. L. R. James, David Riesman and Marshall McLuhan, Richard Hoggart, members of London's Independent Group, Stuart Hall, Paddy Whannel, Tom Wolfe, Herbert Gans, Susan Sontag, Reyner Banham, and Robert Venturi and Denise Scott Brown.

No detailed description available for \"Americans All\".

Los Angeles pulsed with economic vitality and demographic growth in the decades following World War II. This vividly detailed cultural history of L.A. from 1940 to 1970 traces the rise of a new suburban consciousness adopted by a generation of migrants who abandoned older American cities for Southern California's booming urban region. Eric Avila explores expressions of this new \"white identity\" in popular culture with provocative discussions of Hollywood and film noir, Dodger Stadium, Disneyland, and L.A.'s renowned freeways. These institutions not only mirrored this new culture of suburban whiteness and helped shape it, but also, as Avila argues, reveal the profound relationship between the increasingly fragmented urban landscape of Los Angeles and the rise of a new political outlook that rejected the tenets of New Deal liberalism and anticipated the emergence of the New Right. Avila examines disparate manifestations of popular culture in architecture, art, music, and more to illustrate the unfolding urban dynamics of postwar Los Angeles. He also synthesizes important currents of new research in urban history, cultural studies, and critical race theory, weaving a textured narrative about the interplay of space, cultural representation, and identity amid the westward shift of capital and culture in postwar America.

In Supernatural Entertainments, Simone Natale vividly depicts spiritualism's rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism's explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

The Naked Communist argues that the political ideologies of modernity were fundamentally determined by four basic figures: the world, the enemy, the secret, and the catastrophe. While the \"world\" names the totality that functioned as the ultimate horizon of modern political imagination, the three other figures define the necessary limits of this totality by reflecting on the limits of representation. The book highlights the enduring presence of these figures in the modern imagination through detailed analysis of a concrete historical example: American anti-Communist politics of the 1950s. Its primary objective is to describe the internal mechanisms of what we could call an anti-Communist \"aesthetic ideology.\" The book thus traces the way anti-Communist popular culture emerged in the discourse of Cold War liberalism as a political symptom of modernism. Based on a discursive analysis of American anti-Communist politics, the book presents parallel readings of modernism and popular fiction from the 1950s (nuclear holocaust novels, spy novels, and popular political novels) in order to show that, despite the radical separation of the two cultural fields, they both participated in a common ideological program.

Today, vaudeville is imagined as a parade of slapstick comedians, blackface shouters, coyly revealed knees, and second-rate acrobats. But vaudeville was also America's most popular commercial amusement from the mid-1890s to the First World War; at its peak, 5 million Americans attended vaudeville shows every week. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative? Although he acknowledges its quirkiness, Monod makes the case that vaudeville became so popular because it offered audiences a guide to a modern urban lifestyle. Vaudeville acts celebrated sharp city styles and denigrated old-fashioned habits, showcased new music and dance moves, and promulgated a deeply influential vernacular modernism. The variety show's off-the-rack trendiness perfectly suited an era when goods and services were becoming more affordable and the mass market promised to democratize style, offering a clear vision of how the quintessential twentieth-century citizen should look, talk, move, feel, and act.

Traditionally, the history of the birth control movement has been told through the accounts of the leaders, organizations, and legislation that shaped the campaign. Recently, historians have begun examining the cultural work of printed media, including newspapers, magazines, and even novels in fostering support for the cause.Broadcasting Birth Controlbuilds on this new scholarship to explore the films and radio and television broadcasts developed by twentieth-century birth control advocates to promote family planning at home in the United States, and in the expanding international arena of population control.Mass media, Manon Parry contends, was critical to the birth control movement's attempts to build support and later to publicize the idea of fertility control and the availability of contraceptive services in the United States and around the world. Though these public efforts in advertising and education were undertaken initially by leading advocates, including Margaret Sanger, increasingly a growing class of public communications experts took on the role, mimicking the efforts of commercial advertisers to promote health and contraception in short plays, cartoons, films, and soap operas. In this way, they made a private subject-fertility control-appropriate for public discussion.Parry examines these trends to shed light on the contested nature of the motivations of birth control advocates. Acknowledging that supporters of contraception were not always motivated by the best interests of individual women, Parry concludes that family planning advocates were nonetheless convinced of women's desire for contraception and highly aware of the ethical issues involved in the use of the media to inform and persuade.

Saffron-robed monks and long-haired gurus have become familiar characters on the American popular culture scene. This book examines the contemporary fascination with Eastern spirituality and provides a cultural history of the representation of Asian religions in American mass media. Initial engagements with Asian spiritual heritages were mediated by monks, gurus, bhikkhus, sages, sifus, healers, and masters from a wide variety of ethnic backgrounds and religious traditions. Virtual Orientalism shows the evolution of these interactions, from direct engagements with specific individuals, to mediated relations with a conventionalized icon. Visually and psychically compelling, the Oriental Monk becomes for Americans a “figure of translation” - a convenient symbol for alternative spiritualities and modes of being. Through the figure of the solitary Monk, who generously and purposefully shares his wisdom with the West, Asian religiosity is made manageable — psychologically, socially, and politically — for popular culture consumption. On an historical level, the books argues that American mass awareness of Asian religions coincides with the advent of visually-oriented media (magazines, television, and film) and examines how technological transformations ushered in a new form of Orientalism — virtual Orientalism — prevalent since the late 1950s. Although popular engagement with Asian religions in the U.S. has increased, the fact that much of this has taken virtual form makes stereotypical constructions of “the spiritual East” obdurate and especially difficult to challenge. Representational moments in Virtual Orientalism’s development that are examined include: D.T. Suzuki and the 1950s Zen Boom; the Maharishi Mahesh and his celebrity followers in the 1960s and; Kwai Chang Caine in the popular 1970 television series, Kung Fu.

Andrew L. Yarrow tells the story of Look magazine, one of the greatest mass-circulation publications in American history, and the very different United States in which it existed. The all-but-forgotten magazine had an extraordinary influence on mid-twentieth-century America, not only by telling powerful, thoughtful stories and printing outstanding photographs but also by helping to create a national conversation around a common set of ideas and ideals. Yarrow describes how the magazine covered the United States and the world, telling stories of people and trends, injustices and triumphs, and included essays by prominent Americans such as Martin Luther King Jr. and Margaret Mead. It did not shy away from exposing the country's problems, but it always believed that those problems could be solved. Look , which was published from 1937 to 1971 and had about 35 million readers at its peak, was an astute observer with a distinctive take on one of the greatest eras in U.S. history-from winning World War II and building immense, increasingly inclusive prosperity to celebrating grand achievements and advancing the rights of Black and female citizens. Because the magazine shaped Americans' beliefs while guiding the country through a period of profound social and cultural change, this is also a story about how a long-gone form of journalism helped make America better and assured readers it could be better still.

In December 2010 the U.S. Embassy in Kabul acknowledged that it was providing major funding for thirteen episodes of Eagle Four-a new Afghani television melodrama based loosely on the blockbuster U.S. series24. According to an embassy spokesperson, Eagle Four was part of a strategy aimed at transforming public suspicion of security forces into something like awed respect. Why would a wartime government spend valuable resources on a melodrama of covert operations? The answer, according to Timothy Melley, is not simply that fiction has real political effects but that, since the Cold War, fiction has become integral to the growth of national security as a concept and a transformation of democracy. InThe Covert Sphere, Melley links this cultural shift to the birth of the national security state in 1947. As the United States developed a vast infrastructure of clandestine organizations, it shielded policy from the public sphere and gave rise to a new cultural imaginary, \"the covert sphere.\" One of the surprising consequences of state secrecy is that citizens must rely substantially on fiction to \"know,\" or imagine, their nation's foreign policy. The potent combination of institutional secrecy and public fascination with the secret work of the state was instrumental in fostering the culture of suspicion and uncertainty that has plagued American society ever since-and, Melley argues, that would eventually find its fullest expression in postmodernism. The Covert Spheretraces these consequences from the Korean War through the War on Terror, examining how a regime of psychological operations and covert action has made the conflation of reality and fiction a central feature of both U.S. foreign policy and American culture. Melley interweaves Cold War history with political theory and original readings of films, television dramas, and popular entertainments-fromThe Manchurian Candidatethrough24-as well as influential writing by Margaret Atwood, Robert Coover, Don DeLillo, Joan Didion, E. L. Doctorow, Michael Herr, Denis Johnson, Norman Mailer, Tim O'Brien, and many others.