By N. Renwick
What's America's nationwide identification? This examine deals a brand new viewpoint into this query. It argues that this id is 'constructed' instead of 'essential' and displays the politics of exclusion. This identificatory exclusion has been globalized via American fiscal, cultural, political and armed forces enlargement. The research provocatively attracts upon poetry, literature, artwork, structure, gangsta rap, panorama and cityscape to light up the development of America's nationwide id and illustrates how this has been globalized in an more and more post-modernist .
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Additional info for America’s World Identity: The Politics of Exclusion
Constant movement, continual growth and repeated expansion are inextricably linked to the imagining of America. Personal success and upward social mobility was to be conspicuously displayed by geographical mobility to the suburbs. The towering, glittering silver skyscrapers of America's cities were physical representations of commercial success and speculative expectation. Simultaneously, they were expressive of the traditional 'boosterism' attributed to Americans by themselves and by others. Yet, the imagining reified in the narratives of the American landscape and built environment are easily re-read in exclusionary terms of power.
The overwhelming majority of movies up to the 1970s ran with the established, dominant value system. Only with the release of movies such as Little Big Man (1970), Alice Doesn't Live Here Anymore (1974) and Shaft (1971) did indigenous peoples, women and black peoples respectively return to the silver screen in a nondiscriminatory way. The breaking-open of the dominant discourse was largely left to independent movie-makers such as Melvin van Peebles Sweet Sweetback Js Baadass Song (1971) or Jill Godmilow's Antonia: A Portrait of a Woman (1974).
As much as anything else, landscape is a metaphor for America's deeper imaginings of itself. The subjectivity of such metaphoricity is entwined with the American sense of the aesthetic: 'Paintings and writings in the American pantheon were shaped not just by personal technique but through selection and interpretation of evidence, reflecting assumptions about the purpose of humans in the landscape and their relations, ideal and actual, with nature. Every picture and book served as implicit recorder not merely of the visual facts of the landscape but of what they symbolized for the artist or writer, here ethetics [sic] mingle with ideology ...