BUCH
Transnational Mediations
Negotiating Popular Culture between Europe and the United States
Herausgeber: Decker, Christof | Böger, Astrid
American Studies – A Monograph Series, Bd. 261
2015
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Abstract
In the 20th and 21st centuries, American media have been continually received, adapted, and transformed by European cultures. Initially based on the competition among the early film industries and continuing with today’s global dominance of American web-based companies, these productive exchanges entail complex economic, aesthetic, and cultural negotiations. The dynamic and scope of these negotiations has been ambiguous, ranging from instances of cultural imperialism to the subversion of social and cultural hierarchies. More often than not, they have furthered the exchange of creative ideas and the cross-fertilization of media and art productions. This publication highlights core arenas of transnational cultural encounters including photography, film, fashion, advertising, television, and the new media. It asks not merely how American media productions were received in different European cultural contexts but how they shaped the idea of distinct yet interconnected European identities.
Inhaltsverzeichnis
| Zwischenüberschrift | Seite | Aktion | Preis |
|---|---|---|---|
| Cover | C | ||
| Title Page | 3 | ||
| Copyright | 4 | ||
| Contents | 5 | ||
| CHRISTOF DECKER, ASTRID BÖGER, Transnational Mediations: An Introduction | 7 | ||
| I Practices of Transnational Visual andConsumer Culture | 15 | ||
| 1 WILLIAM URICCHIO, The Residue of the National: Conditions of Production and the Transatlantic Divide | 17 | ||
| 2 FRANK MEHRING, Remediating Silhouettes: What We Can Learn from Advertising the Harlem Renaissance in the Digital Age | 33 | ||
| 3 ASTRID BÖGER, Transnational Exposure: The Family of Man and the Emergence of Global Photography | 57 | ||
| 4 ANNEKE SMELIK, MAAIKE FEITSMA, Jeans: From an American Icon to Dutch Denim | 73 | ||
| II Negotiating Film Stories and Styles | 91 | ||
| 5 JUAN A. SUÁREZ, Sidney Peterson’s Experimental Film Comedy and Transatlantic Surrealism | 93 | ||
| 6 HILARIA LOYO, Contested Referents: Hollywood Cinema and Spanish Modernity in the 1930s | 113 | ||
| 7 GILLES MENEGALDO, American Horror Films and Europe: Cultural Exchanges, Critical Approaches, and the Case of French Theory | 131 | ||
| 8 AGNIESZKA SOLTYSIK MONNET, The Transnational Zombie: Postcolonial Memory and Rage in Recent European Horror Film | 151 | ||
| 9 RALPH J. POOLE, Precarious Masculinities in the New Turkish Cinema | 169 | ||
| III Reception Histories and Globalized MediaInstitutions | 189 | ||
| 10 PHILIP SCHLESINGER, Transnational Framings of British Film Policy: The Case of the UK Film Council | 191 | ||
| 11 MELVYN STOKES, Chaplin’s Monsieur Verdoux (1947): Transnational Perspectives | 209 | ||
| 12 CHRISTOF DECKER, Screening Holocaust: American Television and the Discourse on ‘Victim Cultures’ in West Germany | 227 | ||
| 13 TOM | 251 | ||
| Notes on Contributors | 267 |
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