American Popular Culture Commons^™

Impressive Failures: Mavericks Of Film Authorship And The Impossibility Of Success In Hollywood, Tom S. Davies

Dissertations, Theses, and Capstone Projects

This dissertation directly challenges the critical and commercial primacy of success attached to Hollywood films and their filmmakers, especially when one argues for or against their quality and/or importance within cinematic history. Through a process of shifting and multiplying perspectives within a broader narrative that is critical of what separates success and failure, certain films and filmmakers that were judged as failures or disappointments under impossible prerequisites of creating a successful film––commercially, aesthetically, or both–– are, instead, reconsidered as constructive counterpoints to the expectations of the Hollywood economic field of production as well as to the inevitable disappointment of the …

Nervous Salomes: New York Salomania And The Neurological Condition Of Modernité, Margaret K. Araneo

Dissertations, Theses, and Capstone Projects

In January 1907, New York City had its first major encounter with the figure of Salome. Appearing on three large stages in the city simultaneously, the archetype of the dancing girl quickly became an object of controversy. Her appearance at the Metropolitan Opera House in its staging of Strauss’s Salome resulted in public debate and the ultimate closure of the performance by the Met’s Board of Directors. The event brought attention to the Salome archetype’s already contested character. Salome arrived in the United States from Europe where she had been the subject of a quarter century of debates about how …

Reimagining The Collective: Black Popular Music And Recording Studio Innovation, 1970-1990, Will Fulton

Dissertations, Theses, and Capstone Projects

This dissertation examines developments in the production practices of black popular music in the recording studio from 1970 to 1990. The year 1970 marked a transition in the recording practice of popular music that had a distinct impact on styles marketed as R&B, soul, and funk. Multitracking in the 1950s and 1960s had paved the way for a transformed production process, one initiated by Les Paul’s and Sidney Bechet’s overdubbing experiments in the 1940s. The collective sound of instrumentalists and vocalists heard on records no longer resulted from live-to-tape recordings of group performances, but was increasingly the product of constructed …

Acts Of Provocation: Popular Antiracisms On/Through The Twenty-First Century New York Commercial Stage, Stefanie A. Jones

Dissertations, Theses, and Capstone Projects

This is an abolitionist feminist study of the role of liberalism in the twenty-first century political economy. It takes as its object New York City bourgeois cultural productions (in particular Broadway theatre and the New York Times) from approximately 1984 to 2009. It offers insights into important yet widely-misunderstood features of turn-of-millennium US society: class, art, political practice, and war. In order to understand liberalism’s political and economic agenda, I look at how these objects are pitched in the struggle over racism. Sometimes when we say “liberal” we mean it in the philosophical sense, with particular attention to liberal …

Black Models Matter: Challenging The Racism Of Aesthetics And The Facade Of Inclusion In The Fashion Industry, Scarlett L. Newman

Dissertations, Theses, and Capstone Projects

The global fashion market is expanding every day, but often, the global fashion runways do not reflect that reality. On average, black models make up for six percent of models used on the runway during the fashion month calendar. This small percentage is also mirrored in advertisements and editorials featured in popular fashion magazines. In the 1970s, black models were met with great opportunities, and that success trickled down into the 1980s and the 1990s. As the 90s came to a close, top designers opted for an aesthetic that ultimately excluded models of color, but black models beared the brunt …

Foreign-Born Artists Making “American” Pictures: The Immigrant Experience And The Art Of The United States, 1819–1893, Whitney Thompson

Dissertations, Theses, and Capstone Projects

Despite the fact that historians centralize immigration as a defining social phenomenon of the nineteenth century, art historians maintain nationalistic parameters that suppress artists’ immigration and assimilation experiences. While scholars have foregrounded the transatlantic migration of artists who entered during the postbellum Great Wave (1881-1920) and the twentieth century, immigration in the first two-thirds of the nineteenth century has been largely neglected, a striking omission given that roughly six million people arrived to the United States between 1820 and 1865. To reconcile this gap, this dissertation examines artists who were part of the major antebellum- and Civil War-era migration streams …

The Fat Female Bodies Of Saturday Night Live: Uncovering The Normative Cultural Power Of A Countercultural Comedy Institution, Katharine Cacace

Dissertations, Theses, and Capstone Projects

Despite its reputation as one of the most countercultural and anti-establishment voices in mainstream television comedy, Saturday Night Live helps produce and reproduces cultural norms. Using weight and gender as a lens, this paper investigates Saturday Night Live’s methods of creating, imitating, and evoking the fat female body in order to limit female agency and police unruly female power. It contends that even the inclusion of nonnormative female bodies—fat bodies, queer bodies, and bodies of color—is merely a reiteration of the techniques of neoliberal multiculturalism for the television audience.

The Fabric Of Manhattan: Art And Industry In The Era Of A.T. Stewart, Patricia Wadsley

Dissertations, Theses, and Capstone Projects

Soft spoken, short of stature, his sleepy blue eyes gazing wistfully upon the world around him, the Irish émigré A. T. Stewart hardly looked like a titan of business. But by 1863, he’d built two architecturally significant department stores, he was one of the leading importers, manufacturers, retailers and wholesalers in this country, and he had begun to collect significant works of art, which today have pride of place in art museums around the world.

Like many wealthy nineteenth century New Yorkers, Stewart amassed his wealth through commerce. However, Stewart was not just a merchant. As a leader in apparel …