Bøger udgivet af University Press of Mississippi

The Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores the berimbau's stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB, electronic dance music, Brazilian art music, and more.

In a definitive collection of original essays, scholars cover the span of Alison Bechdel's career, placing her groundbreaking early work within the context of her more well-known recent projects. Contributors provide new insights on major themes in Bechdel's work, such as gender performativity, lesbian politics, trauma, and queer theory.

Exploring an overlooked era of Italian history roiled by domestic terrorism, political assassination, and student protests, Drawn and Dangerous: Italian Comics of the 1970s and 1980s shines a new light on what was a dark decade, but an unexpectedly prolific and innovative period among artists of comics intended for adults.

Although Stanley Kubrick adapted novels and short stories, his films deviate in notable ways from the source material. In particular, since 2001: A Space Odyssey (1968), his films seem to definitively exploit all cinematic techniques, embodying a compelling visual and aural experience. But, as author Elisa Pezzotta contends, it is for these reasons that his cinema becomes the supreme embodiment of the sublime, fruitful encounter between the two arts and, simultaneously, of their independence. Stanley Kubrick's last six adaptations-2001: A Space Odyssey, A Clockwork Orange (1971), Barry Lyndon (1975), The Shining (1980), Full Metal Jacket (1987), and Eyes Wide Shut (1999)-are characterized by certain structural and stylistic patterns. These features help to draw conclusions about the role of Kubrick in the history of cinema, about his role as an adapter, and, more generally, about the art of cinematic adaptations. The structural and stylistic patterns that characterize Kubrick adaptations seem to criticize scientific reasoning, causality, and traditional semantics. In the history of cinema, Kubrick can be considered a modernist auteur. In particular, he can be regarded as an heir of the modernist avant-garde of the 1920s. However, author Elisa Pezzotta concludes that, unlike his predecessors, Kubrick creates a cinema not only centered on the ontology of the medium, but on the staging of sublime, new experiences.

Presents some of Michael Haneke's most profound interviews to English speakers. The volume features seventeen articles, fourteen of which have been translated into English for the first time, and all of which provide a detailed, eloquent commentary on his films and worldview.

Disney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art. This book is the only comprehensive collection of Barks' interviews.

Though a well-regarded physicist Carl Sagan is best-known as a writer of popular nonfiction and science fiction and as the host of the series Cosmos. In interviews and profiles, Sagan discusses with verve a wide variety of topics - the environment, nuclear disarmament, religion, politics, extraterrestrial life, astronomy, physics, robotics.

Collected interviews with the screenwriter of the Academy Award-winning film American Beauty and creator of the Emmy Award-winning television series Six Feet Under and True Blood

Interviews with the Oscar-nominated screenwriter of Body and Soul and the director of Force of Evil and Tell Them Willie Boy Is Here

Conversations with the author of They Came Like Swallows, The Folded Leaf, and the American Book award-winning So Long, See You Tomorrow

Interviews with the author of the on-going column "Real Life Top Ten"

Interviews with the Polish filmmaker who garnered international acclaim (including an Oscar nomination) for his Three Colors trilogy of films and was proclaimed one of Europe's most important filmmakers by many critics

Interviews with the director of Dont Look Back, The War Room, and Ziggy Stardust and the Spiders from Mars

Collected interviews with the British director of such films as Welcome to Sarajevo, Butterfly Kiss, and The Killer Inside Me

Interviews with one of the great early film directors, maestro of The Birth of a Nation, Intolerance, and Hearts of the World

Interviews with the director of such films as Shock Corridor, The Naked Kiss, Verboten!, and Pickup on South Street

Collected interviews with the British director of such films as Slumdog Millionaire, Trainspotting, and 28 Days Later

Since the release of his breakout film Irréversible in 2002, Gaspar Noé (b. 1963) has been labeled the principal provocateur of twenty-first-century French cinema. While many of the filmmaker's complex and daring works have been reduced by his critics to their (innumerable) depictions of hallucinogens, violence, and unsimulated sexual intercourse--the latter rendered into vertiginous 3D with his film Love--other viewers have remained in steady awe of Noé's dizzying camerawork, immersive visuality, and expressive editing. Noé's cinema greets the short attention spans of digital life with works of extremities and endurance for performers and spectators alike. This first-of-its-kind collection of interviews documents Noé's engagement with the feverish reception of his work and received ideas about his life and politics. Collecting conversations with critics, scholars, and artists, including fellow directors Matthew Barney, Abel Ferrara, and Harmony Korine, Noé speaks about his process as a writer, director, cinematographer, and editor. Also examined are his engagement with developing film technology and his fascination and indebtedness to past filmmakers such as Pier Paolo Pasolini, Jean Eustache, Stanley Kubrick, and Sam Peckinpah. Noé discusses life in Buenos Aires and emigrating to France, his use of irony and melodrama, as well as his interest in documentary practices. Throughout, Noé explores his continuing examination of faith and secularism, body and mind, and the politics of spectatorship. Editor Geoffrey Lokke's introduction provides a close reading of Noé in conversation, assessing what has changed over the years in terms of the filmmaker's aesthetics and presentation of self, as well as what Noé is reticent to articulate about his life and art.

Over thirty years after his initial ascent to super stardom, Todd McFarlane (b. 1961) remains one of the most popular and contentious comic artists ever. The interviews compiled in this volume offer a nuanced portrait of McFarlane's polarizing character. Beginning with his earliest days on Spider-Man to the months before the hotly anticipated release of Spawn and ending with his writing ventures decades later, the interviews offer compelling perspectives from the renowned creator. As the most vocal representative of Image Comics, McFarlane, alongside Jim Lee, Rob Liefeld, Erik Larsen, Jim Valentino, Marc Silvestri, and Whilce Portacio, was a veritable rock star. Eager fans swarmed into lengthy lines around comic book stores and conventions, waiting for their chance at a thirty-second autograph. The book offers a glimpse into the comic book world of the early 1990s, a world rampant with variant covers, impossibly exaggerated bodies, and wild speculation about what would be the next comic to explode in value. The volume also includes the momentous public debate between McFarlane and Peter David, former collaborator on The Incredible Hulk, moderated by the late George Pérez at a standing-room-only event at ComicsFest in 1993. While this world sounds almost inconceivable to the comic book fan of today, it was the milieu in which McFarlane rose to stardom and excelled like no other, leaving his mark on the medium forever.

Once heralded as the "Black Mecca of the South," Atlanta's Black community is currently under threat of dislocation by cultural gentrification. Amid the city's urban renaissance, residents face rising property values, taxes, and rents, as well as the more insidious loss of a collective identity and belonging. In Ghosts of Atlanta: Cultural Gentrification of the Black Mecca, author Rhana Gittens Wheeler examines the fading echoes of African American memory and historical narratives in Atlanta. As encroaching investors and business owners enter historically Black areas, many have sought to rebrand entire neighborhoods, making those spaces more palatable to would-be gentrifiers and less recognizable to former residents. Exploring material sites of meaning, including monuments, museums, art exhibitions, and more, Gittens Wheeler unearths tensions between the city's proud legacy as a hub of political and economic equality for Black Americans and the unsettling reality of cultural displacement. Gittens Wheeler interrogates and critiques recent developments in the city, including the Atlanta BeltLine, craft breweries, and attractions that romanticize the civil rights movement. Drawing inspiration from literary giants like Ralph Ellison and Toni Morrison, as well as contemporary voices like 2 Chainz and T.I., Gittens Wheeler weaves together elements of rhetorical criticism, archival studies, and interviews to confront pressing questions. What happens when symbols of cultural memory and identity are uprooted? How do residents grapple with the erasure of their narratives, forced to feel unwelcome in their own neighborhoods? In addressing these questions, Gittens Wheeler uncovers the complex dynamics of shared spaces, exposing both the pain of displacement and the possibility of redemption. A reverberating call to action, Ghosts of Atlanta: Cultural Gentrification of the Black Mecca demonstrates that Black stories, inscribed in space, are necessary for bringing a moral reckoning to the heart of America's national identity.

Since the magazine's first issue in 1964, TeenSet's role in popular music journalism has been overlooked and underappreciated. Teen fan magazines, often written by women and assumed to be read only by young girls, have been misconstrued by scholars and journalists to lack "seriousness" in their coverage of popular music. TeenSet, Teen Fan Magazines, and Rock Journalism: Don't Let the Name Fool You disputes the prevailing conception that teen fan magazines are insignificant and elevates the publications to their proper place in popular music history. Analyzing TeenSet across its five-year publication span, Allison Bumsted shows that the magazine is an important artifact of 1960s American popular culture. Through its critical commentary and iconic rock photography, TeenSet engaged not only with musical genres and scenes, but also broader social issues such as politics, race, and gender. These countercultural discourses have been widely overlooked due to a generalization of teen fan magazines, which have wrongly presumed the magazine to be antithetical to rock music and as unimportant to broader American culture at the time. Bumsted also examines the leadership of editor Judith Sims and female TeenSet staff writers such as Carol Gold. By offering a counternarrative to leading male-oriented narratives in music journalism, she challenges current discourses that have marginalized women in popular music history. Ultimately, the book illustrates that TeenSet and teen fan magazines were meaningful not only to readers, but also to the broader development of the popular music press and 1960s cultural commentary.

Contributions by Vlad Dima, Laura Hatry, Alicia Kozma, Lynette Kuliyeva, Madhuja Mukherjee, Frank Percaccio, Gary D. Rhodes, Courtney Ruffner Grieneisen, Marlisa Santos, Michael L. Shuman, and Robert Singer Movie posters, regardless of their country of origin, have become indelibly linked with the films they represent, often assuming a status as visual encapsulations of films within collective memory. Long after their initial role in promotion is complete, these posters endure as iconic images, etched into film history and cultural consciousness. One can hardly hear mention of Steven Spielberg's landmark production Jaws, for example, without immediately picturing the evocative poster art of Roger Kastel. Film by Design: The Art of the Movie Poster is a groundbreaking and comprehensive exploration of the international and Hollywood movie poster as a dynamic artistic and cultural formation. Drawing inspiration from such prominent genres as horror, science fiction, and noir, the twelve essays in this collection provide insightful analyses of the movie poster as a vital component of the cinematic landscape from the silent era to the contemporary period. Crucially, this anthology rejects the notion of movie posters as mere historical artifacts or advertising tools and instead examines them as integral parts of a broader aesthetic framework interwoven into their respective film narratives. Each chapter, whether focusing on controversies, Cubism, or Cuba, is accessible to scholars, students, and fans alike. Through its intervention in film studies, Film by Design reveals the movie poster to be an ever-evolving medium, firmly grounded in both theory and practice, while serving as an essential and enduring element within the realm of film art.

Larry Brown (1951-2004) was unique among writers who started their careers in the late twentieth century. Unlike most of them--his friends Clyde Edgerton, Jill McCorkle, Rick Bass, and Kaye Gibbons, among others--he was neither a product of a writing program, nor did he teach at one. In fact, he did not even attend college. His innate talent, his immersion in the life of north Mississippi, and his determination led him to national success. Drawing on excerpts from numerous letters and material from interviews with family members and friends, Larry Brown: A Writer's Life is the first biography of a landmark southern writer. Jean W. Cash explores the cultural milieu of Oxford, Mississippi, and the writers who influenced Brown, including William Faulkner, Flannery O'Connor, Harry Crews, and Cormac McCarthy. She covers Brown's history in Mississippi, the troubled family in which he grew up, and his boyhood in Tula and Yocona, Mississippi, and in Memphis, Tennessee. She relates stories from Brown's time in the Marines, his early married life--which included sixteen years as an Oxford fireman--and what he called his "apprenticeship" period, the eight years during which he was teaching himself to write publishable fiction. The book examines Brown's years as a writer: the stories and novels he wrote, his struggles to acclimate himself to the fame his writing brought him, and his many trips outside Yocona, where he spent the last thirty years of his life. The book concludes with a discussion of his posthumous fame, including the publication of A Miracle of Catfish, the novel he had nearly completed just before his death. Brown's cadre of fans will relish this comprehensive portrait of the man and his work.

During his correspondence with erotic folklore collector Gershon Legman, famed chantey singer and collector Stan Hugill (1906-1992) shared unexpurgated versions of the songs in his repertoire. These bawdy songs were meant to be a part of Legman's larger project concerning erotic folksong. Upon Legman's death in 1999, the unfinished and unpublished manuscript sank into obscurity and was believed by many to be permanently lost. Thankfully this "holy grail" of chantey texts had been safe in the private collection of Legman's widow, Judith Legman, all along. Cabin Boys, Milkmaids, and Rough Seas: Identity in the Unexpurgated Repertoire of Stan Hugill is the first critical investigation of this repository, reproduced here for the first time. Training an interdisciplinary lens on twenty-four unexpurgated texts, author Jessica M. Floyd interrogates the articulation of gender, sexuality, and identity as it is expressed in these cultural artifacts of the sea. Opening with both a critical explication of the chantey genre, as well as situating Hugill's repertoire in the canon of folksong, the book introduces readers to the critical realities that attend this rich cultural tradition. Analytical chapters demonstrate the kaleidoscopic representation of gender and sexuality in this finite repertoire. Each inquiry is connected and overlapping, demonstrating an ebb and flow not unlike the waters on which the songs were sung. Words of warning, heteronormative economies, and queer undercurrents each collide to present an image of sailing life that is nuanced and complicated, provocative and evocative, transgressive and sometimes radical. The volume allows scholars to place a finger on the pulse of maritime life, feeling and experiencing one voice among the din of working-class song traditions.

Librarians around the country are currently on a battleground, defending their right to purchase and circulate books dealing with issues of race and systemic racism. Despite this work, the library community has often overlooked--even ignored--its own history of white supremacy and deliberate inaction on the part of white librarians and library leadership. Author Wayne A. Wiegand takes a crucial step to amend this historical record. In Silence or Indifference: Racism and Jim Crow Segregated Public School Libraries analyzes and critiques the world of professional librarianship between 1954 and 1974. Wiegand begins by identifying racism in the practice and customs of public school libraries in the years leading up to the Brown v. Board of Education decision. This culture permeated the next two decades, as subsequent Supreme Court decisions led to feeble and mostly unsuccessful attempts to integrate Jim Crow public schools and their libraries. During this same period, the profession was honing its national image as a defender of intellectual freedom, a proponent of the freedom to read, and an opponent of censorship. Still, the community did not take any unified action to support Brown or to visibly oppose racial segregation. As Black school librarians and their Black patrons suffered through the humiliations and hostility of the Jim Crow educational establishment, the American library community remained largely ambivalent and silent. The book brings to light a distressing history that continues to impact the library community, its students, and its patrons. Currently available school library literature skews the historical perspective that informs the present. In Silence or Indifference is the first attempt to establish historical accountability for the systemic racism contemporary school librarianship inherited in the twenty-first century.

In conversations on regional blues, the traditions of the Mississippi Delta, the Carolina Piedmont, Chicago, Houston, Memphis, New Orleans, and Los Angeles are frequently lauded. But until now, little attention has been paid to the Midwest, despite the presence and popularity of blues in these heartland communities. Wichita Blues: Music in the African American Community seeks to address this gap in music history by exploring the lively Wichita blues tradition. In interviews with nineteen African American Wichita blues performers, author Patrick Joseph O'Connor reveals the evolution of the blues from the 1930s to the 1960s and beyond. Utilizing twenty-five years of fieldwork, Wichita Blues details the history of performance and camaraderie among the musicians of this often-neglected regional sound. The personal interviews offer unique insight into topics that shape Wichita's sound, including how migration from Oklahoma, Texas, and Arkansas brought varied artists to the area and the ways musical traditions cross racial divides and generations. The artists articulate the poetics of the blues and the diverse regional influences that can be detected in their music. In exploring the Wichita blues tradition, O'Connor traces African American history in Kansas, ranging from the Exoduster movement in the late nineteenth century and minstrel shows across the state to Black cowboys and growing urban African American communities in Topeka and Wichita. Including a foreword by renowned music scholar David Evans, Wichita Blues allows seasoned blues musicians to tell their own stories and paints a picture of the vibrant Black music scene in the city.

Born and raised on the island of Jamaica, Fern June Khan has valued and embraced Jamaica in each stage of her life. Despite the island's economic and educational challenges during her youth, Khan's childhood was a colorful one, replete with the vibrant culture of the island, endlessly supportive role models, and a complex social tapestry. Her early experiences empowered Khan to develop an unwavering sense of self as she progressed into adulthood and moved to the United States. Through Jamaican Lenses: A Memoir celebrates Khan's joyful upbringing, journey to a new environment, and her many educational and professional accomplishments. Centering on her early life in Jamaica in the 1940s and '50s, this memoir reveals Khan's childhood as one rich with opportunities to observe and experience the complexities of Jamaican life and history. Khan's childhood memories revel in the community's vivid folklore, Jamaica's music and food, popular idioms and sayings, as well as the implications of color and class. Then a British colony, Jamaica still bore the legacies and social impacts of slavery and emancipation. Jamaica was becoming increasingly globalized and along with that transition came a growing interest in cultural exchange. Stories of economic success poured in from relatives and friends who had traveled abroad, whether as seasonal workers or as immigrants. As Khan grew, ambition brought her to the United States as a foreign student. She graduated from New York University with a BSc in sociology and a graduate degree in social work. Following a brief career in social work, Khan next cultivated a forty-four-year career in higher education, using her social work skills to inform her work developing education programs for children, youth, and adults alike in New York City and beyond. Bolstered by her early education in Jamaica, these achievements would not have been possible without the support of her community. Examining not only Jamaica's contribution to the arts, its customs and traditions, and its social and cultural heritage, Through Jamaican Lenses explores honestly the diasporic experience of Caribbean immigration, postcolonialism, collective and individual memory, and transnational identity.

Renowned for his masterful storytelling, Alan J. Pakula (1928-1998) left an indelible mark on cinema history. Alan J. Pakula: Interviews offers a concise yet comprehensive overview of the director's illustrious career, from his early days in Hollywood to his rise as a major filmmaker. From the famous "paranoid trilogy" of Klute, The Parallax View, and All the President's Men to the gripping psychological drama of Sophie's Choice and his often-undervalued later work, Pakula's diverse filmography has captivated audiences and critics alike. The first published collection of interviews with the acclaimed director, this volume presents an illuminating portrait of Pakula as a filmmaker, an artist, and a man of many parts. The eighteen pieces compiled here, including an illuminating introduction and previously unpublished 1983 interview by editor Tom Ryan, provide a broad overview of Pakula's career. In his own words, Pakula recounts his experience as Robert Mulligan's producer, reflects on the bulk of films he made as director, and outlines his approach to the art of filmmaking. Taken as a whole, Alan J. Pakula: Interviews is a treasure trove of cinematic wisdom and a fitting tribute to the legacy of an important American filmmaker.

John Clellon Holmes met Jack Kerouac on a hot New York City weekend in 1948, and until the end of Kerouac's life they were-in Holmes's words-"e;Brother Souls."e; Both were neophyte novelists, hungry for literary fame but just as hungry to find a new way of responding to their experiences in a postwar American society that for them had lost its direction. Late one night as they sat talking, Kerouac spontaneously created the term "e;Beat Generation"e; to describe this new attitude they felt stirring around them. Brother Souls is the remarkable chronicle of this cornerstone friendship and the life of John Clellon Holmes. From 1948 to 1951, when Kerouac's wanderings took him back to New York, he and Holmes met almost daily. Struggling to find a form for the novel he intended to write, Kerouac climbed the stairs to the apartment in midtown Manhattan where Holmes lived with his wife to read the pages of Holmes's manuscript for the novel Go as they left the typewriter. With the pages of Holmes's final chapter still in his mind, he was at last able to crack his own writing dilemma. In a burst of creation in April 1951, he drew all the materials he had been gathering into the scroll manuscript of On the Road. Biographer Ann Charters was close to John Clellon Holmes for more than a decade. At his death in 1988 she was one of a handful of scholars allowed access to the voluminous archive of letters, journals, and manuscripts Holmes had been keeping for twenty-five years. In that mass of material waited an untold story. These two ambitious writers, Holmes and Kerouac, shared days and nights arguing over what writing should be, wandering from one explosive party to the next, and hanging on the new sounds of bebop. Through the pages of Holmes's journals, often written the morning after the events they recount, Charters discovered and mined an unparalleled trove describing the seminal figures of the Beat Generation: Holmes, Kerouac, Neal Cassady, Allen Ginsberg, William Burroughs, Gregory Corso, and their friends and lovers.