By Will Kaufman
The Nineteen Seventies used to be essentially the most culturally brilliant sessions in American historical past. This publication discusses the dominant cultural kinds of the Seventies - fiction and poetry; tv and drama; movie and visible tradition; well known song and magnificence; public house and spectacle - and the decade's so much influential practitioners and texts: from Toni Morrison to All within the relatives, from Diane Arbus to Bruce Springsteen, from M.A.S.H. to Taxi motive force and from disco divas to Vietnam protesters. in line with those that think of the seventies the time of disco, polyester and narcissism, this ebook rewrites the severe engagement with certainly one of America's such a lot misunderstood a long time
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Arguably, this way madness lies. 20 Such impressions threaten to overwhelm our sense of what precisely made the 1970s the seventies, as one of many recent cultural products indicates. The Fox Network’s long-running sitcom, That Seventies Show (1998–2006) situates its characters in a small Wisconsin suburb in the years 1976–9. What is it in particular that makes it a ‘70s show’, given that its teenage characters undergo crises and rites of passage that would be experienced by teens in other decades as well – sexual The Intellectual Context 5 exploration, ‘hanging out’, family relationships, balancing school and after-school demands?
59) Such criticisms are by now all too familiar in an age that has coined a term – ‘spin’ – to define the process that Lasch identified and critiqued in 1978; but one of Lasch’s most impressive contributions to the analysis is his situation of image-pursuit – of what we now call ‘spin’ – in its broad historical frame: In an earlier stage of capitalist development, industrialization reduced the artisan or peasant to a proletarian, stripped him of his land and tools, and stranded him in the marketplace with nothing to sell but his labour power.
1–2) The impact of such a belief system was the construction 14 American Culture in the 1970s of a severe, politically charged ‘vision of reality’ based on a perceived ‘difference between the familiar (Europe, the West, “us”) and the strange (the Orient, the east, “them”)’. (44) Underpinning this binary ‘vision’ are real power structures with immense influence: None of this Orient is merely imaginative. The Orient is an integral part of European material civilization and culture. Orientalism expresses and represents that part culturally and even ideologically as a mode of discourse with supporting institutions, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies and colonial styles.