Perforce, Trump/Bannon will be less crude. They will deregulate as much as they can. For-profit institutions can then return to their merry, money-making, often corrupt ways. In contrast, students and scholars on visas will be overly regulated, under the rubric of extreme vetting. “Dreamers” may be deported. Global academic talent will go elsewhere; local academic talent will be sent elsewhere. (Fortunately, a number of prestigious college and university presidents did publically protest that first presidential executive order on immigration, and Leon Botstein published a strong op-ed in the New York Times.) Money for research will be cut, especially if it is to be spent on climate change, the arts, or the humanities. If Trump/Bannon find a campus lawless and disorderly, they can threaten to take away federal money, as Trump did in a tweet after a protest gone awry at Berkeley.
Norton, 2008.Payne, Charles. I've Got the Light of Freedom: The Organizing Tradition and the Mississippi Freedom Struggle. Berkeley: University of California Press, 1995.Ransby, Barbara. Ella Baker and the Black Freedom Movement: A Radical Democratic Vision. Chapel Hill: University of North Carolina Press, 2003.Singh, Nikhil. Black Is a Country: Race and the Unfinished Struggle for Democracy. Cambridge: Harvard University Press, 2004.Theoharis, Jean, and Komozi Woodward, eds. Freedom North: Black Freedom Struggles Outside the South, 1940–1980. New York: Palgrave Macmillan, 2003.Tyson, Timothy. Radio Free Dixie: Robert F.
This is a collection of fifteen essays, some already published and others I’vewritten for the volume. The old items (all revised at least a little) includeessays on silent film, Japanese cinema, Hong Kong film, European film, and classicand contemporary Hollywood. The new pieces include a survey of film poetics asa research tradition and research program, an essay on what I call “networknarratives,” and an essay on staging in early CinemaScope films. The volumewill run about 500 book pages, with 500 illustrations. From .
This book consists of two essays focused on contemporary American cinema. The first essay considers the extent to which films of the last thirty years or so have diverged from storytelling models formulated during Hollywood’s studio era. The second essay analyzes visual style and is an expansion of the essay, “Intensified Continuity,” which appeared in Film Quarterly some years ago. Both essays tackle more general issues of continuity and change in Hollywood, try to dispute the idea of a “post-classical” Hollywood, and consider the role played by independent filmmaking. Films analyzed include Jerry Maguire, Memento, JFK, A Beautiful Mind, The Two Towers, and Two Weeks Notice. The Way Hollywood Tells It can be considered an essayistic sequel to some of my sections oof The Classical Hollywood Cinema (1985).
Read the to The Way Hollywood Tells It.