This paper examines the institutionalization of memory institutions in the 1950s and the 1950s in the Rožňava region as an example of the preparation and implementation of government regional ...cultural policy in Slovakia. During this period, the government succeeded for the first time to lay the fundaments of memory institutions such as libraries, archives and museums. This, however, was achieved with distinct political and ideological goals in mind which was reflected not only in cultural and educational activities of these institutions, but also in their collections. Additionally, the neglect that cultural issues had suffered in the previous decades resulted in the lack of qualified staff and location-related issues.
Born in the late 19th century, jazz gained mainstream popularity during a volatile period of racial segregation and gender inequality. It was in these adverse conditions that jazz performers ...discovered the power of dress as a visual tool used to defy mainstream societal constructs, shaping a new fashion and style aesthetic. Fashion and Jazz is the first study to identify the behaviours, signs and meanings that defined this newly evolving subculture. Drawing on fashion studies and cultural theory, the book provides an in-depth analysis of the social and political entanglements of jazz and dress, with individual chapters exploring key themes such as race, class and gender. Including a wide variety of case studies, ranging from Billie Holiday and Ella Fitzgerald to Louis Armstrong and Chet Baker, it presents a critical and cultural analysis of jazz performers as modern icons of fashion and popular style. Addressing a number of previously underexplored areas of jazz culture, such as modern dandyism and the link between drug use and glamorous dress, Fashion and Jazz provides a fascinating history of fashion's dialogue with African-American art and style. It is essential reading for students of fashion, cultural studies, African-American studies and history.
Cet article explore certains des problèmes récurrents au sein du système de la coproduction cinématographique franco-italienne dans les années 1950-1960, du point de vue français. Les coproductions ...ont été un puissant instrument de transfert culturel international et une pratique industrielle et commerciale moderne, mais, comme le met en évidence l'article, l'idée reçue d'une collaboration idyllique entre la France et l'Italie doit être repensée et nuancée. Cette analyse est fondée sur l'examen des accords officiels bilatéraux et de la presse corporative française.
The essay’s aim is to analyze the public use that the Italian cinema made of history trying to unveil the mechanism of memory and oblivion and the reasons behind them in crucial occasion: the ...celebrations for the centenary of Italian unity. The focus is obviously on the movies about the Risorgimento. Not only history, but also gender roles are at the basis of the patriotic discourse. Therefore the essay tries also to understand how they were represented in history movies. Four films are taken into account: La pattuglia sperduta (1952), Senso (1954), Viva l’Italia! (1961) and Il Gattopardo (1963).
The essay's aim is to analyze the public use that the Italian cinema made of history trying to unveil the mechanism of memory and oblivion and the reasons behind them in crucial occasion: the ...celebrations for the centenary of Italian unity. The focus is obviously on the movies about the Risorgimento. Not only history, but also gender roles are at the basis of the patriotic discourse. Therefore the essay tries also to understand how they were represented in history movies. Four films are taken into account: La pattuglia sperduta (1952), Senso (1954), Viva l'Italia! (1961) and Il Gattopardo (1963).
The Beat Generation was a group of writers who rejected cultural standards, experimented with drugs, and celebrated sexual liberation. Starting in the 1950s with works such as Jack Kerouac'sOn the ...Road,Allen Ginsberg'sHowl,and William S. Burroughs'sNaked Lunch,the Beat Generation defined an experimental zeitgeist that endures to today. Yet left out of this picture are the Beat women, who produced a large body of writing from the 1950s through the 1970s and beyond.
InWomen Writers of the Beat Era,Mary Paniccia Carden gives voice to these female writers and demonstrates how their work redefines our understanding of "Beat." The first single-authored study on female writers of this generation, the book offers vital analysis of autobiographical works by Diane di Prima, ruth weiss, Hettie Jones, Joanne Kyger, and others, introducing the reader to new voices that interact with and reconfigure the better-known narratives of the male Beat writers. In doing so, Carden demonstrates the significant role women played in this influential and dynamic literary movement.
The first scholarly book on the women writers of the Beat Generation.
Derided for its conformity and consumerism, 1950s America paid a price in anxiety. Prosperity existed under the shadow of a mushroom cloud. Optimism wore a Bucky Beaver smile that masked worry over ...threats at home and abroad. But even dread could not quell the revolutionary changes taking place in virtually every form of mainstream music. Music historian James Wierzbicki sheds light on how the Fifties' pervasive moods affected its sounds. Moving across genres established--pop, country, opera--and transfigured--experimental, rock, jazz--Wierzbicki delves into the social dynamics that caused forms to emerge or recede, thrive or fade away. Red scares and white flight, sexual politics and racial tensions, technological progress and demographic upheaval--the influence of each rooted the music of this volatile period to its specific place and time. Yet Wierzbicki also reveals the host of underlying connections linking that most apprehensive of times to our own uneasy present.
This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British cinema. Twenty writers contribute essays that rediscover and ...reassess the productions of the Festival of Britain decade, during which the vitality of wartime film-making flowed into new forms. Topics covered include genres such as the B-film, the war film, the woman's picture, the theatrical adaptation and comedy; also social issues such as censorship and the screen representation of childhood. The book includes fresh assessments of maverick directors such as Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic, Raymond Durgnat. There are also three personal views from people individually implicated in 1950s cinema: Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the British Film Institute on film archiving and preservation. In its evocation and coverage of a fascinating time when the national cinema enjoyed an unprecedented popularity amongst home audiences, this volume offers the most exhilarating survey yet of 1950s British film. In its provocative challenge to conventional wisdom about this decade's movies, the book will prove indispensable to students of the cinema at all levels and a stimulating companion for the critic and the historian.
Social capital is an asset that is generated by the relationship between individuals within a social structure. It allows individuals to achieve goals that are unachievable in its absence or ...achievable only at higher cost. Wives are a form of social capital, and although they have contributed to the success of their husbands and their firms ever since the nineteenth century, corporations only began to acknowledge their worth during the 1950s. This company recognition arose out of the prevalence of large corporations and bureaucratic practices, corporate decentralization, concerns over frill-employment and unionization, the emphasis on human relations, and the early rumblings of the modern-day womens movement.
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