Discussions about, toward,
around, and alongside the
New England American Studies
Association's Fall 2011 Conference.
See the schedule at the bottom of
the page, and please add your voice
and perspective to the mix!

Wednesday, August 3, 2011

Lauren Tilton: Recreating World War II: Experiencing The National World War II Museum






Advertisements, billboards, and business cards invite New Orleanians, tourists
and the nation to come “Experience the Victory” at the National World War II (WWII) Museum in New Orleans, Louisiana.

Experience is a fascinating word choice particularly in light of the museum’s recent expansion.  Phase one was recently completed to the tune of 300 million dollars and resulted in a dinner-theatre, a celebrity chef restaurant (that serves $20 entrees) and 4-D movie theatre narrated by Tom Hanks.  (For a funny Onion article on Tom Hank’s obsession with WWII, visit http://tinyurl.com/2dtyuot)

 Dinner-Theatre performance of “Music of the 1940s” 

 Celebrity Chef Restaurant – John Besh’s American Sector

4-D movie theatre Beyond All Boundaries


The expansion creates quite a different experience than one imagines when learning in textbooks, reading books or watching films about the daily sacrifices on the homefront or fighting on the front lines. What is this collective memory or prosthetic memory (to borrow from Alison Landsberg) the museum is creating?

I would love any questions, feedback, or thoughts. Please feel free to link more youtube videos or other interesting info!

- Lauren Tilton
Lauren.Tilton@yale.edu
American Studies Graduate Student, Yale

Tuesday, August 2, 2011

Frank Usbeck's (Transnational) Post

Who's the Barbarian Here? Or: Exceptionalism in German and American Group Identity around 1900
While analyzing the German interest in Native American topics, I came to understand the interrelation of German nationalism and identity formation with this interest for Indians. Following this thread, I became very interested in ways how German nationalists claimed German uniqueness by way of alluding to the primitive, and the same time I discovered numerous parallels in American nationalism and in the myth of the frontier. I want to share and discuss these parallels in this blog and possibly use them as premises to our presentations and discussions in November. I'd be interested in how far similar parallels and claims to exceptionalism  using the same trope existed among other groups.
Reaching back to the first phase of European expansion, the German infatuation with Native American topics has become a phenomenon of popular mass culture during the 19th century and has, in varying adaptive expressions, prevailed until now. Termed German "Indianthusiasm" by American Studies scholar Hartmut Lutz, this phenomenon has been found to be more revealing about German perceptions of self and the American other than about (Native) America itself. The depiction of contemporary Native Americans helped German nationalists of the 19th century to relate Germans to their Germanic ancestors, and thus ascribe to both Germans and Native Americans positive "national/racial" character traits which enhanced a notion of German-Indian sameness. In my dissertation project, I described two major tropes of Indianthusiasm which helped  build a sense of German exceptionalism by way of Indian imagery and allusions to primitivism/barbarianism, the German Sonderweg.
In the Fellow Peoples motif, many nationalists assigned positive character traits to Germans. In the sense of Anderson's concept of imagined community, these character traits served as group markers believed to be ancient and inherent, and thus declared the German people per se to be honest, brave, loyal, untiring, and hospitable. While these traits were mentioned in early Roman texts about Germanic peoples (i.e. Tacitus' Germania), they also fit the description of the proverbial noble savage. Because it was claimed (and believed) that Germans had preserved their character traits, customs, and social structure, and thus their peoplehood, since the days of ancient Rome, and since 19th-century descriptions of Native Americans mirrored the character traits Germans had assigned to themselves, the similarity and familiarity seemed obvious. This similarity, on the other hand, invited the notion of exceptionalism because it set the Germans as a people apart from other Europeans who where excluded from these inherent group markers.
In the Common Enemy motif, long-standing rivals and perceived threats to the German self were identified as alien and anti-German, massive changes in the socio-political structure due to industrialization and secularization caused people to blame basic principles of the Enlightenment. Germans, believing to be indigenous people and thus soul-mates with Native Americans, perceived the introduction of modernity as the intrusion of alien concepts (such as liberalism), as well as the economic and military threat of invasion by expansive outsiders. In this sense, Germans often saw parallels with Native Americans as the victims of French, British, and American trickery, greed, and cultural pressure.
In order to preserve Germanness, then, politicians, philosophers, writers, and academics time and again invoked virtues and character traits such as honesty, bravery, fierceness, loyalty, or hospitality, all traits that were said to be inherent and inheritable national/racial character traits. Ominously, all these traits were present and valued in Indian imagery as well.
One of the most puzzling and fascinating insights of my study was the perception of uniqueness among many German nationalists who did not seem to realize that the positive relation to a people perceived as original and thus the identification with what was seen as primitive was by no means a unique treat of identity formation in the late 19th and early 20th centuries. Academic literature both in Germany and the Americas at the time could have shown that these character traits did not describe a unique group but were items in what a colleague described as the "barbarian catalog." Following a suggestion after a conference presentation, I researched discourses on Americanness  at the same time and stumbled over statements by Theodore Roosevelt which were very similar to many German ideas about the positive role of barbarian virtues in the formation of national identity:
"Over-sentimentality, over-softness, in fact washiness and mushiness are the great dangers of this age and of this people. Unless we keep the barbarian virtues, gaining the civilized ones will be of little avail " (Jacobson, Barbarian Virtues 3).
Frederick Jackson Turner's thesis of the Frontier as the main tool of American identity formation dwells on the recurrence of "primitive" stages of development, on the fact that immigrant pioneers are turned  into Americans by having to start from scratch and having to rely solely on the resources the American continent provided. Roosevelt's quote emphasizes the same idea - the notion that American greatness grew out of originality and simplicity, and that the spoils of modernity have weakened the essence of the people by distracting them with material wealth.
Both German Indianthusiasm and American nationalism's concept of barbarian virtues interpreted aspects of what they saw as "primitive" and "barbaric" as sources of strength and believed their own groups were unique in being strong by way of the barbarian catalog. At the same time, both Americans and Germans also developed national(ist) narratives in which the primitive was portrayed as a contemptible or even dangerous other.
 
   Frank Usbeck, Universitat Leipzig.

Monday, August 1, 2011

Anne Berke: A Companion Piece to "Nips the Nips"


Some issues and questions to consider when watching this cartoon include:


  • How have the writers and animators of this cartoon produced a work that speaks to both adults and children?
  • How does the stereotyped comedy about Germans differ from that of Japanese in "Nips the Nips"? ("Herr Meets Hare," incidentally, was also unofficially banned from television, but not nearly as stringently as "Nips the Nips.")
  • On the subject of banned materials, does the circulation of cartoons like these do more harm or good?

Anne Berke: Sketching out the War Effort: On Bugs Bunny Nips the Nips (1944)


            In 1944, Warner Brothers released Bugs Bunny Nips the Nips, a cartoon featuring the title hero defeating not one, but a score of Japanese soldiers while stranded on an unnamed island in the Pacific. Nips the Nips became a target of controversy in the past twenty years for its anti-Japanese slurs and its violence against a series of Japanese caricatures.  This cartoon, recalled from stores for its racist content in 1995, can be found on various internet sites (including the homepage for men’s television channel, Spike.com), but has received no scholarly treatment beyond being deemed hateful war propaganda. Susan Elizabeth Dalton writes in her article “Bugs and Daffy Go to War,” that these “therapeutic cartoons began… with a resurgence of patriotism” (Dalton 159), but she dismisses Nips the Nips as an exhibit of “the awful extent to which cartoons would go in order to bolster American morale through a long and terrible war” (161). Though the cartoon served, in large part, to “bolster morale,” Dalton fails to explore in depth how this was achieved specifically through the cartoon medium.
            In this paper, I will analyze how Bugs Bunny Nips the Nips recreates two national mythologies – the resourceful, smart and individualist American (Bugs Bunny) and the treacherous, conformist Other (the “Nips”).  First, I will examine how the cartoon medium can communicate, visually and narratively, racist attitudes toward the Japanese and the problem of showing violence against the enemy within an animated universe. Second, the cartoon will be placed in the context of the “film bill” – what newsreels and features were these cartoons being shown alongside? – raising questions of authorship and audience. FFFFinally, Bugs Bunny Nips the Nips launches Bugs Bunny into the dual roles of Hollywood star, with the cartoon’s metanarrative discourses, and spokesman for American mythologies.
Eric Smoodin, in his book Animating Culture (1993), writes that the cartoon shares with the feature and not with the newsreel “a fictional narrative, depend[ing] upon a star system as a means of luring an audience, and ma[king] constant use of both comedy and performance” (Smoodin 45). The personality that is Bugs Bunny and the impalpable (yet indispensable) spirit of the nation at war are reinforcing, reciprocal narratives. As Bugs Bunny lends his irreverent, if sadistic, spirit to the war effort, so wartime national patriotism and its attendant xenophobia contribute to the cartoon hero’s emerging status as an American icon.
<!--[if !supportEmptyParas]-->Watch "Bugs Bunny Nips the Nips" (1944)
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Anne Berke has an MA in Film Studies from Columbia University and is currently at work on a PhD in American Studies/Film Studies at Yale University. 

Tuesday, July 19, 2011

But Why Wait?

UPDATE: The first week of official blog posts will now be the week of August 1st, and will feature posts from both the War and Transnational panels. But again, please feel free to chime in with starting points, either in comments or by sending things to my email, before then!

Seeing as the info about this blog has already gone out across the intertubes, and seeing as one central goal for this fall's conference is to get as many people as possible involved, an offer: if you have thoughts about the conference's theme ("American Mythologies: Creating, Re-creating, or Resisting National Narratives"), whether overall or in relation to particular texts, figures, issues, ideas, or etc, and would like to include them in these conversations, please feel free to email them to me (brailton@fitchburgstate.edu) and I'll post them here. (Or, if that feels too formal, feel free to share them as Comments on this post.) Help us get started on a great note!

Thanks,
Ben Railton
NEASA President

Monday, July 18, 2011

[UPDATED] Weekly Conversations to Begin the Week of August 1st!

See the Schedule below, which will stay in that location throughout the blogging, for the full week by week plan. Talk to you soon!

Sunday, July 17, 2011

Sample post (from NEASA Council member Jonathan Silverman)


Welcome to the NEASA conference blog. We're doing a little experiment here to see if we can begin conversations that will culminate at our conference in November. Each week a different panel will present on their subject (or anything American Studies related).

I'm going to be the host of sorts with participation with others from the NEASA council, a group with wide subject and disciplinary interests, also helping me. In the spirit of collaboration and "you first," I'll begin with a little post that models what we hope to be
doing here.

In graduate school, we used to play a game: song or paper topic. Someone would name a subject--"Captain Crunch" comes to mind--and we would figure out whether it would better be explored as a song or paper topic. Almost everything ended up as a paper topic, because in our department at least, and I think, American Studies scholars generally and graduate students in particular often have an openness to exploration, a curiosity about the how and why of everyday culture matters.

It’s with this spirit that I’m approaching my current project on class and architecture at racetracks. As a reporter that covered horse racing from both a social and sports perspective, I saw that racetracks both small and large, prominent and obscure, included class divisions in their architecture, and that they included a type of class play. My paper here focuses on one part of racetrack culture, the type of influence that British traditions have on American ones, and how racetrack goers in the United States, and track owners, use these traditions as a vehicle for their own class performances.

I focus here on the fancy hats women sometimes wear—and tracks often sell. These fancy hats are a type of fashion architecture that exists idiosyncratically almost exclusively at racetracks. What do they mean? How do we contextualize them? Those are the types of questions I’m asking in this paper and in a longer work as well.