By Graham Thompson
This publication appears to be like past the typical label of 'Ronald Reagan's the US' to chart the complicated intersection of cultures within the Eighties. In doing so it presents an insightful account of the main cultural sorts of Eighties America—literature and drama; movie and tv; tune and function; artwork and photography—and influential texts and traits of the last decade: from White Noise to Wall highway, from Silicon Valley to MTV, and from Madonna to Cindy Sherman. A targeted bankruptcy considers the altering dynamics of yankee tradition in an more and more globalised marketplace.Key beneficial properties: * targeted case experiences that includes key texts, genres, writers, artists and cultural tendencies* specific chronology of Nineteen Eighties American tradition* Bibliographies for every bankruptcy* Twelve black and white illustrations
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Extra info for American Culture in the 1980s (Twentieth Century American Culture S.)
43 What was driving the second of these narratives, according to Faludi, was a backlash not just against women, but also against the feminism that had fostered the demands for equality and freedom. The end result of feminism was pain: ‘Women are unhappy precisely because they are free. Women are enslaved by their own liberation . . ’44 Faludi sees evidence of this backlash not only in the rhetoric of New Right religion and politics, but also in its practical policies.
Cycles of speculative boom and bust, common enough in the history of US stock trading – as the crash of 1929 illustrates – can be dramatic events with devastating effects. The years of bull markets, when speculation is intense and profits high, also make for a dramatic spectacle as urban locations like New York are transformed by the sums of money being generated in financial markets. The 1980s had all of these things. Leading up to the 1980s, US stock trading was in a state of depression. Like the rest of the US economy there was little optimism and, in an economy where inflation was at historically high levels, the incentives for investment were limited.
No longer was one tied to a fixed music system, 30 American Culture in the 1980s following the release – and colossal success in the US – of Sony’s Walkman and its clones. Culture was suddenly portable and more easily reproducible. The digital world which had for several years only been projected was now becoming a new order of reality and a new space in which culture would be produced and consumed. While the years after the 1980s have seen the more startling possibilities of this new digital domain, the 1980s is a decade of genuine innovation on a mass scale at the point where technology meets culture.
American Culture in the 1980s (Twentieth Century American Culture S.) by Graham Thompson