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is captured in the women’s house in a similar manner that the writer in Sunset Boulevard is trapped in Norma Desmond’s mansion. Another important element for choosing to pastiche Sunset Boulevard , as it will be seen later, is that, as Nikolaidis’s films, Wilder’s film is itself metacinematic: it deals with the transition from silent cinema to the ‘talkies’ through a silent cinema star’s refusal (Desmond) to accept the transition, but also the film implicitly comments on the change of the media landscape in the USA of 1950s with the introduction of television

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bicentennial as had been planned. 26 Nevertheless, 2012 was a good year to revive the cinematic presentation of the Civil War president. Although difficult to gauge, the Obama presidency might have increased interest in the Great Emancipator (Obama himself declared his presidential candidacy at the old courthouse in Springfield, referring to Lincoln, only the first of his major references to the Great Emancipator 27 ); the first African American president’s initial plea to end the culture wars and political gridlock might also have facilitated greater prestige for Lincoln

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it contains one of his most racially diverse casts, unlike most of his movies that employ majority black casts. Not only does Perry employ several significant white characters central to the plot, but he also has a highly decorated cast with Academy Award winner Kathy Bates and Oscar nominee Alfre Woodard. With Perry’s unique position in Hollywood as a rare but well-known African American writer, producer, actor, and director, it is important to interrogate whether he is using his status to create new stories about the black experience or whether he is merely

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historical evidence. History and Theory, 9 (2), 195–201. Finnegan, R. (1970b). Oral literature in Africa . New York, NY: Oxford University Press. Freishtat, R. L., & Sandlin, J. A. (2010). Shaping youth discourses about technology: Technological colonization, manifest destiny, and the frontier myth in Facebook’s public pedagogy. Educational Studies, 46 , 503–523. Gabbin, J. V. (1990). A laying on of hands: Black women writers exploring the roots of their folk and cultural tradition. In J. M. Braxton & A. N. McLaughlin (Eds.), Wild women in the whirlwind: Afra-American

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Immigration and Contemporary British Theater Notes Introduction 1. Quentin Crisp, The Naked Civil Servant (London: Penguin Books, 1968). 2. Doreen Massey, Space, Place, and Gender (Minneapolis: University of Minnesota Press, 1994) 164. 3. Witold Rybszynski, Home: A Short History of an Idea (New York: Penguin Books, 1986). 4. MadanSarup, “Home and Identity,” Travellers Tales: Narratives of Home and Displacement (London and New York: Rout ledge, 1994) 94. 5. Catherine Wiley and Fiona Barnes, editors, Introduction, Homemaking: Women Writers and the Politics

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Do the Right Thing , Lee noted “Radio Raheem, like the large majority of Black youth, is the victim of materialism and a misplaced sense of values” (quoted in McKelly, 2008, p. 63). Yet, Lee would soon become a purveyor of materialism himself, as McKelly points to “Lee’s highly visible and controversial promotion of various product ← 176 | 177 → lines (including his own) which vigorously target the young African American male demographic…” (2008, p. 63). Lee’s changing economic and social status plays out even in his early films as his positions on consumerism and

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American Ethnologist , 17(1), pp. 41–55. (1986) ‘Modest Women, Subversive Poems: The Politics of Love in an Egyptian Bedouin Society’. British Society for Middle Eastern Studies , 13 (2), pp. 159–168. Abu Lughod, Lila and Mikdashi, Maya (2012) ‘Tradition and the “Anti-Politics” Machine: DAM Seduced by the “Honour Crime”’. Jadaliyya . 23 November. Acosta, B. (2011) ‘The Cultural Politics of Israel’s Mizrahim : From Marginalization to Dominance’. Culture Critique , 2(1) [Online] available at: http://ccjournal.cgu.edu [accessed 2 July 2014]. Agbaria, A. K. and Muhanad

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neighborhood environments. However, the film avoided extended social commentary, spotlighting graffiti art, break dancing, and rapping, while including the significance of hip-hop language, clothing, and attitudes. In the movie’s storyline, Kenny (Guy Davis) and Chollie (Leon W. Grant) are two African American friends who love rap music, and they bond with Ramon (Jon Chardiet), a Puerto Rican graffiti writer who has had a baby with his girlfriend, Carmen (Saundra Santiago). Kenny’s younger brother, Lee (Robert Taylor) is a break dancer who hangs with a group of fellow

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effects of skin color on African Americans’ self-esteem’, Journal of Human Behavior in the Social Environment , vol. 1, no. 2–3, pp. 63–90. Davy, C 1938, Footnotes to the film , Readers’ Union edn, Lovat Dickson, London. ← 204 | 205 → Deccan Chronicle 2010, ‘Halloween gets Avatar and Robo Twist’, Deccan Chronicle . Deccan Chronicle 2010, ‘Halloween gets Avatar and Robo Twist’, Deccan Chronicle . Deccan Chronicle 2010, ‘When the stars go crazy’, Deccan Chronicle , 6 July 2010. De La Torre, C 2010, Populist seduction in Latin America , 2nd edn, Ohio University

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, Unpublished paper. Costen, Melva Wilson (1993), African American Christian Worship , Nashville: Abingdon Press. ← 357 | 358 → Cottle, T.J. (1973), A Simple Change in Creativity, Journal of Creative Behaviour , Vol. 7 No. 3 (3rd quarter), pp. 161–4. Cross, Ian (2003), Music and biocultural evolution. In Clayton, Martin, Herbert, Trevor and Middleton, Richard (eds) (2003), The Cultural Study of Music: A Critical Introduction , Oxford: Routledge, pp. 19–30. Crossan, John Dominic, 1992 [1973], In Parables: The Challenge of the Historical Jesus , Sonoma, California