Hernan Vera

In Hitler in the Movies: Finding Der Führer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him … Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain’s The Great Dictator or Ernst Lubitsch’s To Be or Not to Be (1942), along with the Mel Brooks’s 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler’s Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins’s The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl’s iconic The Triumph of the Will or The Hidden Führer, to the controversial Hitler: A Film from Germany and Quentin Tarantino’s fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Führer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

In Hitler in the Movies: Finding Der Führer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him … Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain’s The Great Dictator or Ernst Lubitsch’s To Be or Not to Be (1942), along with the Mel Brooks’s 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler’s Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins’s The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl’s iconic The Triumph of the Will or The Hidden Führer, to the controversial Hitler: A Film from Germany and Quentin Tarantino’s fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der Führer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

Many people of all ages today continue to be attracted to sociology and other social sciences because of their promise to contribute to better political, social, and moral understandings of themselves and their social worlds-and often because they hope it will help them to build a better society. In a world of new movements and deepening economic inequality following the Great Recession, this new edition is vital. It features dozens of new examples from the latest research, with an emphasis on the next generation of liberation sociologists. The authors expand on the previous edition with the inclusion of sections on decolonisation paradigms in criminology, critical speciesism, and studies of environmental racism and environmental privilege. There is an expanded focus on participatory action research, and increased coverage of international liberation social scientists. Work by psychologists, anthropologists, theologians, historians, and others who have developed a liberation orientation for their disciplines is also updated and expanded.

Many people of all ages today continue to be attracted to sociology and other social sciences because of their promise to contribute to better political, social, and moral understandings of themselves and their social worlds-and often because they hope it will help them to build a better society. In a world of new movements and deepening economic inequality following the Great Recession, this new edition is vital. It features dozens of new examples from the latest research, with an emphasis on the next generation of liberation sociologists. The authors expand on the previous edition with the inclusion of sections on decolonisation paradigms in criminology, critical speciesism, and studies of environmental racism and environmental privilege. There is an expanded focus on participatory action research, and increased coverage of international liberation social scientists. Work by psychologists, anthropologists, theologians, historians, and others who have developed a liberation orientation for their disciplines is also updated and expanded.

Screen Saviors studies how the self of whites is imagined in Hollywood movies—by white directors featuring white protagonists interacting with people of another color. This collaboration by a sociologist and a film critic, using the new perspective of critical "white studies," offers a bold and sweeping critique of almost a century's worth of American film, from Birth of Nation (1915) through Black Hawk Down (2001). Screen Saviors studies the way in which the social relations that we call "race" are fictionalized and pictured in the movies. It argues that films are part of broader projects that lead us to ignore or deny the nature of the racial divide in which Americans live. Even as the images of racial and ethnic minorities change across the twentieth century, Hollywood keeps portraying the ideal white American self as good-looking, powerful, brave, cordial, kind, firm, and generous: a natural-born leader worthy of the loyalty of those of another color. The book invites readers to conduct their own analyses of films by showing how this can be done in over 50 Hollywood movies. Among these are some films about the Civil War—Birth of a Nation , Gone with the Wind, and Glory; some about white messiahs who rescue people of another color—Stargate, To Kill a Mockingbird, Mississippi Burning, Three Kings, and The Matrix; the three versions of Mutiny on the Bounty (1935, 1962, and 1984) and interracial romance—Guess Who's Coming to Dinner. Forty years of Hollywood fantasies of interracial harmony, from The Defiant Ones and In the Heat of the Night through the Lethal Weapon series and Men in Black are examined. This work in the sociology of knowledge and cultural studies relates the movies of Hollywood to the large political agendas on race relation in the United States. Screen Saviors appeals to the general reader interested in the movies or in race and ethnicity as well as to students of com

This book incorporates a range of new material on racist events and incidents across the United States. It includes a few new concepts and some of the original concepts about individual and institutionalized racism in the United States.

This book incorporates a range of new material on racist events and incidents across the United States. It includes a few new concepts and some of the original concepts about individual and institutionalized racism in the United States.

The Agony of Education is about the life experience of African American students attending a historically white university. Based on seventy-seven interviews conducted with black students and parents concerning their experiences with one state university, as well as published and unpublished studies of the black experience at state universities at large, this study captures the painful choices and agonizing dilemmas at the heart of the decisions African Americans must make about higher education.