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From colonial times to the present, the media in America has been subject to censorship challenges and regulations. This comprehensive reference guide to media censorship provides in-depth coverage of each media format--newspapers, magazines, motion pictures, radio, television, and the Internet--all ...

From colonial times to the present, the media in America has been subject to censorship challenges and regulations. This comprehensive reference guide to media censorship provides in-depth coverage of each media format--newspapers, magazines, motion pictures, radio, television, and the Internet--all of which have been, and continue to be, battlegrounds for First Amendment issues. Each media format is examined in-depth, from its origins and history through its modern development, and features discussion of landmark incidents and cases. Foerstel, author of Banned in the U.S.A., the acclaimed reference guide to book censorship in schools and public libraries, offers a brief history of media censorship, examines in-depth the drama of seven landmark incidents, and includes 31 relevant court cases. Complementing the volume are personal interviews with prominent victims of media censorship, who give human voice to the struggle of the media to remain free, and an examination of censorship of the student press.

Queering the Color Line transforms previous understandings of how homosexuality was "invented" as a category of identity in the United States beginning in the late nineteenth century. Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B ...

Queering the Color Line transforms previous understandings of how homosexuality was "invented" as a category of identity in the United States beginning in the late nineteenth century. Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B. Somerville argues that the emerging understanding of homosexuality depended on the context of the black/white "color line", the dominant system of racial distinction during this period. This book thus critiques and revises tendencies to treat race and sexuality as unrelated categories of analysis, showing instead that race has historically been central to the cultural production of homosexuality.

At about the same time that the 1896 Supreme Court Plessy v. Ferguson decision hardened the racialized boundary between black and white, prominent trials were drawing the public's attention to emerging categories of sexual identity. Somerville argues that these concurrent developments were not merely parallel but in fact,inextricably interrelated and that the discourses of racial and "deviance" were sexual used to reinforce each other's terms. She provides original readings of such texts as Havelock Ellis's late-nineteenth-century work on "sexual inversion", the 1914 film A Florida Enchantment, the novels of Pauline E. Hopkins, James Weldon Johnson's Autobiography of an Ex-Coloured Man, and Jean Toomer's fiction and autobiographical writings, including Cane. Through her analyses of these texts and her archival research, Somerville contributes to the growing body of scholarship that focuses on discovering the intersections of gender, race, and sexuality.

Queering the Color Line will have broadappeal across disciplines including African American studies, gay and lesbian studies, literary criticism, cultural studies, cinema studies, and gender studies.

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on ...

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of the Second World War.

By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze". He emphasizes how film noir's introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression.

Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade. It will be of interest to a wide range of readers, including students and scholars in the fields of American literature, film, and gaystudies.

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of ...

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films -- primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire -- Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.