It's the first day of school, and Camilla discovers that she is covered from head to toe in stripes, then polka-dots, and any other pattern spoken aloud! With a little help, she learns the secret of accepting her true self, in spite of her peculiar ailment.
Do you know why the US flag has stars and stripes on it? What does the flag stand for, and why do we say the Pledge of Allegiance? Join Mr. Gomez's class as they study the flag to find out! They'll learn when the first American flag was made, what the Pledge of Allegiance means, and why we still honor the flag today.
By the eighth decade of the twenty-first century, technology had advanced worldwide. Democracy, freedom and equality were firmly established, and people had grown compassionate, cultured and wealthy. The world was a place of boundless opportunity. According to the government of the United States of America, which enjoyed a preeminent position in global politics, finance, science, culture and education, the world had entered an era of peace and was on the way to achieving total nuclear disarmament. However, in order to safeguard that peace, it was unsatisfactory to rely on political processes. Peace protocols were no substitute for a technologically advanced defensive system. A motion was passed by both houses of the American Congress, committing billions of dollars toward the establishment of an advanced-technology Peacekeeping Research Centre (the PRC). The PRC was directed to undertake research and development into a highly intelligent bio-organism with powers of flight and other supernatural functions while remaining under the sole command of the White House. This bio-organism would be required, on the one hand, to perform missions in peacekeeping and planetary safety, including warding off international terrorists and deterring major criminal activities, and on the other, to undertake the rescue of persons involved in natural disasters. This project, which had the highest classification, was codenamed Peace Talisman.
Since the Progressive Era, baseball has been promoted as an institution encapsulating the best of American values and capable of bridging the chasms of twentieth century American culture--urban versus rural, industry versus agriculture, individual versus community, immigrant versus native, white versus color. Among the more enthusiastic of the game's proponents have been American filmmakers, and baseball films present perhaps the purest depiction of baseball's vision of an idealized America. This critical study treats baseball cinema as a film genre and explores the functions of baseball ideology as it is represented in that genre. It focuses on how Hollywood's presentation of baseball has served not only to promote dominant values, but also to bridge cultural conflicts. Commentary on 85 films deals with issues of race, community, gambling, players, women, and owners. Instructors considering this book for use in a course may request an examination copy here.
Capitalizing on thousands of feet of accumulated footage captured by combat camera crews during the early years of the Korean War, a small group of US Army officers conceptualized a film series that would widen viewers’ understanding of the service and its mission. Their efforts produced the documentary television series that in late 1951 would become The Big Picture. Although it would take years to fully utilize the emerging technologies and develop the concept into a popularly recognized television series, The Big Picture did evolve into a vehicle whose intention was to help the army tell its story, sell its relevance in the emerging Cold War, and inform and educate its audience about American ideals. Its messages captured the early post-1945 zeitgeist and reflected a national mood that was anticommunist, steeped in foundational principles of American exceptionalism, and trusting of elite leadership. John W. Lemza’s The Big Picture argues that the show, like others produced for television during that time by the armed forces, served as a vehicle for directed propaganda, scripted to send important Cold War messages to both those in uniform and the American public. In this first systematic study of its production and reception history as well as its themes and cultural impact, Lemza shows how the producers incorporated specific Cold War themes, such as anticommunism, into episodes and deployed television’s small screen as the intersection of propaganda and policy during the Cold War period. John Lemza’s study reveals that the longer The Big Picture maintained those themes the more they began to lose their resonance, especially when the cultural and social environment of the United States began changing in the mid-1960s. The series producers chose to continue on a course that was set during the early Cold War years, and the credibility of the show began to suffer. Throughout the course of its two-decade production run, however, The Big Picture cast a big shadow as the premier military program influencing viewing audiences through primetime television and syndication.
This work is an account of the China edition of the U.S. Army's daily newspaper, The Stars and Stripes, which was geared toward service personnel in the China Theater of Operations at the end of World War II and published for nearly a year. The book addresses Japanese repatriations, war-crime trials, the Chinese civil war and the rise of Communism as covered by the paper, and the paper's role in strengthening U.S. troop morale.
This book examines different affinities between major classical authors and great filmmakers alongside representations of ancient myth and history in popular cinema.
Hollywood's Overseas Campaign: The North Atlantic Movie Trade, 1920-1950 examines how Hollywood movies became one of the most successful U.S. exports, a phenomenon that began during World War I. Focusing on Canada, the market closest to the United States, on Great Britain, the biggest market, and on the U.S. movie industry itself, Ian Jarvie documents how fear of this mass medium's impact and covetousness toward its profits motivated many nations to resist the cultural invasion and economic drain that Hollywood movies represented.
Hollywood’s lights are seductive, but in their shadows lurks a deadly obsession. David Cristi, the horror filmmaker dubbed “gore master” by the tabloids, has made a career from the macabre. But when a tragedy from his past resurfaces, he finds himself drawn away from fake blood and special effects to real-life horror. Together with Vito Martinelli, a retired detective haunted by a case gone cold, and Joy, a young investigator hungry for her first big story, David is pulled into an investigation that grows darker with each clue. Superstar Bonny Clanton, with her five Grammys and four major movies, believes she’s invulnerable to the senseless violence of the city streets. But when she befriends Frank Bonner, a Special Forces sergeant reminiscent of her deceased brother, she unknowingly places herself in grave danger. Frank, an apparently ordinary all-American man, holds a dark secret—he’s already taken two lives, and his true identity remains a mystery. And since Bonny is unaware that she’s in the company of a serial killer, it’s only a matter of time before he turns on her. As the team dives deeper, fame, obsession, and violence twist together in ways no one could have foreseen. The killer is closing in, and in a city where everyone’s wearing a mask, the truth is the scariest thing of all. Prepare yourself for a tale where the price of fame is paid in blood—and no one is safe from the spotlight.
Anna Froula is Associate Professor of Film Studies in the Department of English at East Carolina University, USA Stacy Takacs is Associate Professor and Director of American Studies at Oklahoma State University, USA