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This chapter contains sections titled: Introduction A Brief History of the Culture Concept: Cognitive from the Outset The Emergence of Cognitive Anthropology Prototypes Cultural Models Current and Future Directions References

Death of the Mogulsis a detailed assessment of the last days of the \"rulers of film.\" Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.Complemented by rare, behind-the-scenes stills,Death of the Mogulsis a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.

This chapter contains sections titled: References

According to the author, Godard's films of the 1960s seem to take a cue from One‐Way Street in two crucial ways. First, Godard's collagist methods evince a strong commitment to being “actively equal to the moment” through a filmic style alchemical in its mixing of sound, writing, and image. Second, the locale of the filling station, and more broadly the oil company it represents, provide a key source of fuel for Godard's poetics and politics. They provide brief glimpses of Shell, Total, BP, or Esso fuel pumps or corporate logos that populate a film's mise‐en‐scène. Because oil companies and gasoline service stations form uncanny hieroglyphs in Godard’ s discourse, the author terms cinematic writing in such moments “petrolglyphic.” This chapter pursues how close study of how petrolglyphs imbues Godard's cinematic writing and how in turn this writing probes prevalent tensions found in early 1960s France.

This chapter contains sections titled: Introduction Remaking Korean Female Bodies “It's Tough Being Beautiful”: The Pain and Labor of Beauty Skinny Unruliness, Fake Innocence, and a Happy, Unromantic Ending Feminist Black Humor in 301, 302 From Abject Housewife to Liberated Cannibal: 301's Volatile Body Conclusion Acknowledgements References

This chapter contains sections titled: The Victorian landlord The First World War and beyond Post‐war decline From control to regulation Private landlordism in the 1960s and 1970s Conclusions

This chapter contains sections titled: Prologue Protestants 1949–1954: Compliance The “Christian Manifesto” and Growth of the Three Self The Fate of Evangelicals in the TSPM: The Case of Chen Chonggui Catholics 1949–1957: Resistance From the Great Leap to the Cultural Revolution, 1958–1966 Some Thoughts

This chapter contains sections titled: A Scandal in Bohemia Jazz Myth, Jazz Reality Soul Synthesis Plugging In Buddy Holly and the British Invasion The Body English

This chapter contains sections titled: Cult Movies and Drug Depiction Counterculture, Drugs and the “Head” Film Beyond Psychedelics Conclusion

This chapter contains sections titled: Multicultural Origins New Spain and New France: A Literature of Conquest and Survival Literary Production in the English Settlements: The Southern and Middle Colonies Literature in Early New England Enlightenment, Revolution, and the First Professional Writers A Nation and a National Literature Matures References and Further Reading