Single-Family Residential Development in DeKalb County 1945-1970

The Case studies class of spring of 2010 compiled this resource material. This study focused on suburban residential developments in DeKalb County, Georgia between the end of World War II and 1970 in order to better understand the transformation of the area after the Second World War. The resource includes data on national residential trends, architectural and landscape designs, as well as information on metropolitan Atlanta. The resource was created to support the effort to preserve local neighborhoods, buildings, and landmarks by providing the historic context in which they were created.https://scholarworks.gsu.edu/history_heritagepreservation/1038/thumbnail.jp

Comedy in Unfunny Times: News Parody and Carnival after 9/11

Comedy has a special role in helping societies manage crisis moments, and the U.S. media paid considerable attention to the proper role of comedy in public culture after the 9/11 tragedies. As has been well documented, many popular U.S. comic voices were paralyzed in trying to respond to 9/11 or disciplined by audiences when they did. Starting with these obstacles in mind, this essay analyzes early comic responses to 9/11, and particularly those of the print and online news parody The Onion, as an example of how “fake” news discourse could surmount the rhetorical chill that fell over public culture after the tragedies. By exposing the news as “mere” production and by setting an agenda for learning about Islamic culture and Middle East politics, The Onion avoided violating decorum and invited citizen participation. This kind of meta-discourse was crucial after 9/11, when shifting rules for decorum created controversy and as official voices in government and media honed frames and narratives for talking about the attacks

Heritage enigmatic: The silence of the dubbed in Jedda and The Irishman

The dubbing of the voices of Aboriginal actors in The Irishman (Crombie, 1978) and Jedda (Chauvel, [1955] 2004) is discussed, first in a general context of the prevalence of post-sychronization of cinema sound in past and contemporary practices. The Irishman is thereafter considered through the spectacle of DVD packaging with commentary, a para-cinematic device that works – through a similar mechanism to dubbing – to influence the reception of the feature film; then Jedda is approached with reference to the various accounts that have emerged of the dubbed voices, none of which seem to conclusively indicate the grounds or status. Concluding reflections on these histories are drawn to wider institutional and industrial conditions, and also to contemporary films that address the voices and silences of Indigenous people