NEPCA’s 2017 conference will take place on the campus of the University of Massachusetts Amherst on Friday October 27 and Saturday October 28, 2017.
Periodic updates and information will be made on this site and can be viewed by clicking on the Fall Conference tab above.
ANNOUNCING THE POPULAR CULTURE SUMMER RESEARCH INSTITUTE AT BOWLING GREEN STATE UNIVERSITY
MAY 21-25, 2017
Reminder: Travel Grant applications are due 24 March 2017.
“Exploring the Archives: Fifty Years of Popular Culture”
For the second time, the PCA/ACA and Bowling Green State University are jointly sponsoring a summer research institute on the Bowling Green, Ohio campus from Sunday, May 21 through Thursday, May 25, 2017. This institute will introduce a small group of scholars from across the country and abroad to the research and pedagogical treasures of BGSU’s very special collections.
The staff of these exceptional collections will assist institute participants in locating unique resources for use in their teaching and research in accordance with Fair Use guidelines. In addition, volunteer faculty scholars from both BGSU and PCA/ACA will lend their time and expertise to help participants with their own individual projects.
A limited number of $400 travel grants are available for participants. Applications for Travel Grants are due by 24 March, 2017.
For more information, please visit the following link(s):
Please contact Dr. Lynn Bartholome, PCA/ACA Treasurer ( email@example.com ), if you have questions or need additional information.
Don’t miss your chance for a once in a lifetime experience. SPACE IS LIMITED!
Questions: Contact us!
Popular Culture Association
American Culture Association
Call for Papers for Film and History area for the October 27-28, 2017 Northeast Regional Popular / American Cultural Association (NEPCA) annual conference.
Dr. Carol Mitchell; Area Chair of Film and History
Call for Papers: Film and History. The annual fall conference of NEPCA will be held at University of Massachusetts in Amherst, MA on October 27-28, 2017. Deadline for proposals is June 1, 2017. Visit the NEPCA website at: https://nepca.wordpress.com/2017-conference for full information on proposal submission and registration.
Film and History welcomes presentations on a wide range of film topics contributing to popular culture.
Suggestions for topics include:
- Films portraying historical events with great accuracy or which provide fresh or controversial perspectives (e.g., Spotlight; F.K.)
- Films exploring the nature of complex characters or incorporating social, political, and cultural themes (e.g., heroism, friendship, injustice, racism, betrayal, ambition)
- Film adaptations of other media, (i.e., novels, short stories, theatre) or from real life
- Film genres, such as comedy, crime film, the Western, war film, or science fiction
- Filmmaking and film directors (e.g., Scorsese’s portrayal of women)
- History of the cinema and economic and cultural impacts of film on society
- Academy Awards’ nominations, policies, and practices
Please submit your paper proposals by following the 2017 Paper Proposals link at https://nepca.blog/2017-conference/ by June 1, 2017.
NEPCA presentations are generally 15-20 minutes in length and may be delivered either formally or informally. As Area Chair of Film and History, I am happy to preview your proposal. However, all final submissions should be “CC’d” to me at firstname.lastname@example.org in addition to your submission to the program chair.
NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment consisting of graduate students, independent scholars, junior faculty, and senior scholars.
The nominations committee, headed by Sue Matheson, has issued this call for nominations for the 2017 PCA Elections.
Nominations and self-nominations may be sent to
Sue Matheson, Chairperson of Elections Sub-Committee (email@example.com).
CC Brendan Riley, Executive Director of Operations (firstname.lastname@example.org)
All nomination statements must be limited to two pages in length. Each nomination statement must include the following:
Nomination packets should also include
4) An attached, updated CV.
Important note: For those nominations other than self-nominations, a two-stage process will be used. Individuals who are nominated by a second party will be contacted by the EDO to provide the above required information contained in the nomination form in a timely manner to Sue Matheson. If you intend to nominate someone else, please do so as early as possible to give them time to prepare their materials.
Nominations must be received by February 20, 2017. All follow-up nomination materials must be received by February 22, 2017.
SECOND CALL FOR PAPERS
TENTH-ANNIVERSARY SESSIONS OF THE
FANTASTIC (FANTASY, HORROR, AND SCIENCE FICTION) AREA
Visit us at NEPCA Fantastic: https://nepcafantastic.blogspot.com
2017 Conference of The Northeast Popular Culture/American Culture Association (NEPCA)
University of Massachusetts Amherst, Amherst, Massachusetts
27 and 28 October 2017
Proposals by 1 June 2017
Michael A. Torregrossa
Fantastic (Fantasy, Horror, and Science Fiction) Area Chair
Formed in 2008, the Fantastic (Fantasy, Horror, and Science Fiction) Area celebrates its tenth anniversary in 2017, and we seek proposals from scholars of all levels for papers that explore any aspect of the intermedia traditions of the fantastic (including, but not limited to, elements of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) and how creative artists have altered our preconceptions of these subtraditions by producing innovative works in diverse countries, media, and time periods and for audiences at all levels. Details on previous offerings can be found on our website at https://nepcafantastic.blogspot.com.
Given the proximity of the conference to Halloween, we are always interested in proposals related to monsters and the monstrous.
Furthermore, in anticipation of the two hundredth anniversary of the publication of Mary Shelley’s Frankenstein in 2018, we are especially hoping for proposals that address aspects of the Frankenstein tradition and the fantastic. Be on the lookout for a separate call for our 2017 Frankenstein-themed sessions on “Frankenstein: Friend or Foe?”.
Please see our website NEPCA Fantastic (https://nepcafantastic.blogspot.com) for further details and ideas. Presentations will be limited to 15-20 minutes in length (depending on final panel size).
If you are interested in proposing a paper, please address inquiries and send your biography and paper abstract (each of 250 words) to the Fantastic (Fantasy, Horror, and Science Fiction) Area Chair at email@example.com, noting “NEPCA Fantastic Proposal 2017” in your subject line. Do also submit your information into NEPCA’s official Paper Proposal Form accessible from https://nepca.blog/2017-conference/. Be sure to select “Fantastic” as your designated area.
Please submit inquiries and/or proposals for complete panels directly to the Fantastic (Fantasy, Horror, and Science Fiction) Area Chair at firstname.lastname@example.org.
FOUR OF THE THREE MUSKETEERS (2016). By Robert S. Bader. Northeastern University Press, 544 pages. 2016.
I am a Marxist—a devotee of Groucho, Chico, Harpo, and Zeppo. I’ve seen all the films numerous times, read every book I can get my hands on, seek out new documentaries, and scour DVDs and YouTube for lost clips. But until Robert Bader’s new book, my Marxist education was weak concerning their vaudeville days—those years before durable recording devices or movie cameras were there to capture moments in time for posterity. Bader—who also writes and produces for Warner Brothers—has unveiled a work that is meticulously researched and encyclopedic in scope.
It’s not news to scholars that many Marx memoirs—Groucho and Me, Harpo Speaks, Growing Up with Chico, etc.—are filled with inaccuracies dutifully repeated by biographers and passed off as truth. Lots of these tales were embellishments and some were outright fabrications, but Bader forces us to consider that many resulted from the memory lapses anyone might have who led such a vagabond lives as the children of Minnie Schoenberg Marx. She was the ultimate obsessed stage mother—determined that her children would make it in show business like her brother Al, part of famed comedy duo Gallagher and Shean. When Julius (Groucho) showed talent for singing, she pushed him onto the stage—his brothers to follow. Today, most people think of the Marx Brothers as film stars. From 1929 through 1949, the Marxes made 14 feature films and only Charlie Chaplin rivaled their comic fame. Overlooked in the big screen glamour is what it took to become stars. From 1905 on, the brothers toiled in vaudeville in a dizzying array of ensembles and acts—mostly musical variety sketches; their comedy evolved organically. Because the conniving Minnie angered vaudeville’s biggest booker, B. K. Keith, the Marxes were shut out of a lot of Eastern theaters and Minnie moved her family to Chicago so she could develop hinterland bookings. For her sons, it meant a whirlwind existence of three-a-day performances, split bookings, and if-it’s-Tuesday-it-must-be-Nacogdoches travel. Their grueling schedules were such that troupe members—often including Minnie–came and went quickly. Sometimes key members quit in the morning and instant replacements were readied for the afternoon curtain. It’s no wonder that the only reliable names the lads retained were those of the chorines they bedded, though that was quite a few!
Bader has sifted through playbills, newspaper advertisements, reviews, and archives to the degree that he knows the Marx Brothers performance schedule better than they ever did, and he corrects details in the extensive Marxian literature trove. Along the way he reveals little known tidbits, one of which might startle: Leonard’s (Chico) legendary gambling addiction was real, but the bonafide bad boy of the family was Herbert (Zeppo!), a street punk who was lucky to make it to adulthood. He also gives accurate particulars of events such as Groucho’s first use of a greasepaint moustache, how Arthur became Harpo, how the Marxes stumbled into comedy, and how many of Groucho’s patented “ad-libs” were not.
That last point is critical. If the Marxes look natural on the screen, it’s because they spent time on the road perfecting small bits, such as the pilfered silverware falling from Harpo’s baggy clothing gag. The Marxes were workhorses until they finally had a Broadway hit with “I’ll Say She Is” in 1924, but they never really left the circuit; both The Cocoanuts (1929) and Animal Crackers (1930) were stage hits before they were films. Movies sounded the death knell for vaudeville in the early 1930s and closed a lot of “legitimate” theaters as well, but the Marxes continued to travel to test sketches and songs before they made they shot their films (and sometimes during). They continued touring into the early 1940s, by which time they were rich and tired enough to stop. In a palpable way, though, the vitality of the movie Marxes ended with their tours. Does anyone think that a Night in Casablanca (1946) is one of their great films, or that Love Happy (1949) has much to offer other than an early Marilyn Monroe performance?
We are indebted to Bader for his exhaustive research. My only nitpick is that Four of the Three Musketeers is also exhausting in places. Bader has compiled a vast array of material, but his insistence on presenting it all makes sections of the book read like a chronicle. You will savor this detail if, like me, you are a Marx Brothers fanatic, but many of his revelatory corrections will be lost on those unaware of the errors in the first place. Marxist comrades might disagree, but I think that shorter, snappier synopsis with expanded explanatory footnotes would have fit the bill better. Still, Bader’s book is indispensible for any Mark Brothers research project.
University of Massachusetts Amherst
Kent State: Death and Dissent in the Long Sixties. By Thomas M. Grace. University of Massachusetts Press, 2016. 273 pages + appendices, notes, index.
Those lines from Neil Young’s “Ohio” were inescapable by the summer of 1970, with Young’s pained voice and blistering guitar presaging those of punk and grunge. Anger was already in the air, but the May 4, 1970 shooting of thirteen Kent State University students brought home that rage for multitudes of Americans. By summer’s end, Kent State had become the symbol of divisiveness that roils American society to the present day. Those on the left seized upon Kent as further confirmation that the American Establishment was controlled by duplicitous liars with murderous intent—those willing to expand an immoral war (Vietnam) into neighboring Cambodia and also ready to mow down anyone, including college students, with the audacity to challenge their authority. To those on the right, Kent State was a long overdue crackdown on lawless degenerates who sought to rent the very fabric of American society.
If the two camps shared anything in common, it was their surprise that matters came to a head at Kent State. Until May 4, most Americans had no idea where Kent State was even located. Those such as this reviewer who are old enough to remember the 1970 shootings at Kent (and also Jackson State, Mississippi) recall that most coverage presented Kent State as something of a backwater—the term “small second-tier state school” was often used. Why there? Kent, the media asserted, had not been an epicenter of campus dissent like UCal Berkeley, the University of Michigan, Columbia, San Francisco State, or the University of Wisconsin.
This was because too few were paying attention. So says Thomas Grace and he would know—he was at Kent and was among the nine students wounded on May 4. Kent, Ohio was a small city of just over 28,000 in 1970, but it was no backwater—it was/is an outlying section of Akron and part of the Greater Cleveland metropolitan region. In one of the book’s many remarkable features, Grace has meticulously researched the backgrounds of Kent students and can definitively say that though the university had grown like Topsy—from 6,000 students in 1955 to over 21,000 at the time of the shootings—its undergraduates were not just the sons and daughters of farmers; they were also the children of blue-collar workers. Many were first-generation college attendees and some were students of color whose entrance into higher education was uneasy.
Grace deftly employs the concept of the Long Sixties to prove that the events of 1970 were neither unique nor unpredictable. Ohio—as election observers know—has long been a divided state. In 1970, conservative Republican James Rhodes was governor, but Kent’s students hailed mostly from parts of the state where labor unions had fought and won hard battles. In 1966, the largely black Hough section of Cleveland exploded into six days of rioting that destroyed millions of dollars worth of property. Four (ahem!) people died and fifty were wounded. Those who landed on the Kent campus during the 1960s were neither naïve nor quiescent. The campus saw its first major protest in 1961 and by the mid-Sixties Kent was a spider web of Old and New Left organizations: socialists, Trotskyites, civil rights advocates, SDS members, black nationalists, antiwar activists…. Moreover, ten percent of Kent students were Vietnam veterans, many of whom were outraged by Nixon’s decision to invade Cambodia. Though several of those shot at Kent were not actively protesting, most of those chanting for the National Guard’s exit from their campus knew why they were protesting and were experienced at doing so. As Grace says of himself, “I was not a victim; I was a casualty.”
Grace’s book is so filled with individual stories that one is sometimes lost in the welter of unfamiliar names, but some clear villains emerge: Governor Rhodes, parts of the KSU administration, Ohioans applauding the suppression of civil liberties, the Ohio National Guard, and court systems that literally allowed the Guard to get away with murder. But Grace leaves us with some of his namesake vibes. In a final sweep, his appendix traces the post-May 4 lives of protestors. They did not slink away, as those hoping to teach them a lesson had hoped. Most were activists before 1970 and remained so afterward. Grace, a Syracuse native, returned to campus after a long rehab to show he belonged. Until retirement, he was a Buffalo area social worker, union organizer, and part of the May 4 Memorial task force. Then he got a Ph.D. and is now a history instructor at Erie Community College. He insists there is nothing special about his story—his prerogative, but his book is extraordinary.
What if you knew her/And found her dead on the ground/How could you run when you know?
Robert E. Weir
University of Massachusetts Amherst