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Synopsis
After the techno-futurism of the 1950s and the utopian 1960s vision of a "great society," the 1970s saw Americans turning to the past as a source for both nostalgic escapism and serious reflection on the nation's history. While some popular works like Grease presented the relatively recent past as a more innocent time, far away from the nation's post-Vietnam, post-Watergate malaise, others like Roots used America's bicentennial as an occasion for deep soul-searching.
Happy Days investigates how 1970s popular culture was obsessed with America's past but often offered radically different interpretations of the same historical events and icons. Even the figure of the greaser, once an icon of juvenile delinquency, was made family-friendly by Henry Winkler's Fonzie at the same time that he was being appropriated in more threatening ways by punk and gay subcultures. The cultural historian Benjamin Alpers discovers similar levels of ambivalence toward the past in 1970s neo-noir films, representations of America's founding, and neo-slave narratives by Alex Haley and Octavia Butler. By exploring how Americans used the 1970s to construct divergent representations of their shared history, he identifies it as a pivotal moment in the nation's ideological fracturing.Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
À propos de l'auteur
BENJAMIN L. ALPERS is a Reach for Excellence Associate Professor of History in the Honors College at the University of Oklahoma. He is the author of Dictators, Democracy, and American Public Culture: Envisioning the Totalitarian Enemy, 1920s-1950s.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Happy Days: Images of the Pre-Sixties Past in Seventies America
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Happy Days: Images of the Pre-Sixties Past in Seventies America
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Happy Days
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Paperback. Etat : New. After the techno-futurism of the 1950s and the utopian 1960s vision of a "great society," the 1970s saw Americans turning to the past as a source for both nostalgic escapism and serious reflection on the nation's history. While some popular works like Grease presented the relatively recent past as a more innocent time, far away from the nation's post-Vietnam, post-Watergate malaise, others like Roots used America's bicentennial as an occasion for deep soul-searching. Happy Days investigates how 1970s popular culture was obsessed with America's past but often offered radically different interpretations of the same historical events and icons. Even the figure of the greaser, once an icon of juvenile delinquency, was made family-friendly by Henry Winkler's Fonzie at the same time that he was being appropriated in more threatening ways by punk and gay subcultures. The cultural historian Benjamin Alpers discovers similar levels of ambivalence toward the past in 1970s neo-noir films, representations of America's founding, and neo-slave narratives by Alex Haley and Octavia Butler. By exploring how Americans used the 1970s to construct divergent representations of their shared history, he identifies it as a pivotal moment in the nation's ideological fracturing. N° de réf. du vendeur LU-9781978830530
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Happy Days: Images of the Pre-Sixties Past in Seventies America (eng)
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Paperback. Etat : new. Paperback. After the techno-futurism of the 1950s and the utopian 1960s vision of a "great society," the 1970s saw Americans turning to the past as a source for both nostalgic escapism and serious reflection on the nation's history. While some popular works like Grease presented the relatively recent past as a more innocent time, far away from the nation's post-Vietnam, post-Watergate malaise, others like Roots used America's bicentennial as an occasion for deep soul searching. Happy Days investigates how 1970s popular culture was obsessed with America's past, but often offered radically different interpretations of the same historical events and icons. Even the figure of the greaser, once an icon of juvenile delinquency, was made family-friendly by Henry Winkler's Fonzie at the same time he was being appropriated in more threatening ways by punk and gay subcultures. Cultural historian Benjamin Alpers discovers similar levels of ambivalence toward the past in 1970s neo-noir films, representations of America's founding, and neo-slave narratives by Alex Haley and Octavia Butler. By exploring how Americans used the 1970s to construct divergent representations of their shared history, he identifies it as a pivotal moment in the nation's ideological fracturing. Happy Days investigates how 1970s popular culture was obsessed with Americas past, but often offered radically different interpretations of the same historical events and icons. Even the figure of the greaser, once an icon of juvenile delinquency, was made family-friendly by Henry Winklers Fonzie at the same time he was being appropriated in more threatening ways by punk and gay subcultures. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781978830530
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Happy Days: Images of the Pre-Sixties Past in Seventies America
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Happy Days: Images of the Pre-Sixties Past in Seventies America
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ISBN 13 : 9781978830530
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