Teach Your Students Well: This Land Is Their Land

Most people know Woody Guthrie as the author of the song that\u27s often called our second national anthem, This Land Is Your Land. Not everyone knows that it\u27s a protest song. In the winter of 1940, Guthrie was hitchhiking his way east to New York City at the invitation of Will Geer, an actor best known later in his life for playing Grandpa Zebulon Tyler Walton on the show The Waltons. At the time, Geer was a stage actor and political activist who saw something in Woody Guthrie that he wanted to share with the rest of the world. Guthrie, for his part, was a down-and-out Okie with limited prospects and four mouths to feed besides his own. He had been spending time traveling back and forth between California and Texas trying to stir his fellow Americans out of the slumber caused by the Great Depression. He had already written hundreds of songs but he wasn\u27t done yet. (excerpt

Spartan Daily, February 21, 2019

Volume 152, Issue 13https://scholarworks.sjsu.edu/spartan_daily_2019/1012/thumbnail.jp

Style, Narrative, and Cultural Politics in Bullitt

Peter Yates’s 1968 film Bullitt cemented the reputation of its star, Steve McQueen, as “the essence of cool” – to borrow a phrase from the title of the 2005 documentary that reflects on the star’s legacy. As the film reveals, however, and the documentary explores, Bullitt is fraught with narrative problems, its now iconic set-pieces seemingly purchased at the expense of coherent and accessible plot development. Meanwhile the film’s formal experimentation – internally motivated by the thematic preoccupation with “noise” and freeways – heightens the ecstatic presentation of actor/protagonist as image (and of the autonomization of “style” in general), which in turn can be read as an ambivalent response to the cultural politics of the late 1960s. This paper explores the ways in which various elements of style, narrative, and cultural politics interact within the context of the film, placing Bullitt at a pivotal moment in both cinematic and cultural history.info:eu-repo/semantics/publishedVersio

The Star as Antihero: Ricardo Darín in Carancho

El objetivo de este artículo es analizar el film Carancho (2010, Pablo Trapero) teniendo en cuenta los rasgos codificados del cine negro, especialmente aquellos relacionados con la construcción del personaje protagónico y su destino como también con los espacios que habita y en los que se desenvuelve. Se prestará particular atención a la imagen estrella de Ricardo Darín en la construcción de su personaje, un antihéroe cuya naturaleza opaca y difusa difiere de la representación clásica de la estrella cinematográfica. Para ello, emplearemos el concepto de imagen estrella de Richard Dyer y James Naremore.The purpose of this article is to explore the film Carancho (2010, Pablo Trapero), taking into account the characteristics that typify the film noir genre, particularly those related to character construction and the fate of the main character, on the one hand, and the spaces within which he moves and plays his role, on the other. Particular attention will be paid to Ricardo Darín’s star image in the construction of the protagonist of the film, an antihero whose diffuse and opaque nature differs from the classical representation of a cinematographic star. To this end, the concept of star image will be used following Richard Dyer and James Naremore, in particular.Fil: Soria, Carolina. Universidad de Buenos Aires; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin

Summer of Shrew, Part 3: A Sly Conceit

In the third of a four-part series on Shakespeare\u27s The Taming of the Shrew, Daniel Pollack-Pelzner asks, what if Kate’s story isn’t the play’s only reality? Pollack-Pelzner explores how a drunken beggar and an earlier version of the script shift the brawling balances of the play and call into question who the real shrew is

It’s not all about the music:online fan communities and collecting Hard Rock Café pins

Previous studies of music fan culture have largely centered on the diverse range of subcultures devoted to particular genres, groups, and stars. Where studies have moved beyond the actual music and examined the fashion, concerts, and collecting ephemera such as vinyl records and posters, they have tended to remain closely allied to notions of subcultural distinction, emphasizing hierarchies of taste. This paper shifts the focus in music fan studies beyond the appreciation of the music and discusses the popular fan practice of collecting souvenir pins produced and sold by the Hard Rock Café (HRC) within a framework of fan tourism. Traveling to and collecting unique pins from locations across the globe creates a fan dialogue that centers on tourism and the collecting practices associated with souvenir consumption. Collectors engage in practices such as blogging, travel writing, and administration that become important indicators of their particular expression of fandom: pin collecting. Membership requires both time and money; recording visits around the world and collecting unique pins from every café builds fans' cultural capital. This indicates an internationalization of popular fandom, with the Internet acting as a connective virtual space between local and national, personal and public physical space. The study of HRC pin collecting and its fan community suggests that HRC enthusiasts are not so because they enjoy rock music or follow any particular artist but due to the physical ephemera that they collect and the places and spaces they visit