Rutgers University Press

Since the late 1960s, Jane Fonda has identified as an activist first and an actor second, using her celebrity as a vehicle to convey her views and her advocacy. Few stars of her stature have been as simultaneously acclaimed and vilified as Fonda. Even as she won two Academy Awards and was a major box office draw of the 1970s and 1980s, she received reams of hate mail for her political activism and antiwar stances. This book explores Fonda's devotion to movement politics—sometimes at the expense of her career and her personal safety. Digging deep into rare material from cinema archives and Fonda's own personal papers, journalist Marilyn Greenwald tells the story of how Fonda came to view acting as a "side gig" that gives her a worldwide platform to convey her personal and political views. Charting the evolution of her activism and the merging of her acting and producing with her advocacy, Greenwald focuses on the years from 1968—when she was jarred out of complacency by the Vietnam War—to 1980, after the release of The China Syndrome and the advent of the Three Mile Island nuclear crisis, which brought to light the possible dangers of nuclear energy. Greenwald details how three of her films—Klute (1971), Coming Home (1978), and The China Syndrome (1979)—were designed to further her personal beliefs. She also considers how Fonda has weathered changes in the entertainment industry and public tastes to produce and star in decades' worth of socially conscious projects. Charting Fonda's personal and professional growth while offering a candid account of her struggles, this book shows how Fonda viewed movies as an influential storytelling tool that can influence public opinion, change minds, and trigger social change.

Menachem Kipnis (1878–1942) was one of the early twentieth-century's greatest Jewish eastern European ethnomusicologists, folklorists, and photographers. He had a weekly column in the Warsaw Yiddish newspaper Haynt, retelling humorous old folk stories about the fictional Polish town of Chelm, populated exclusively by fools. At the same time, his photographs of Jewish life in eastern Europe regularly appeared in the Forverts (Forward), the most popular Yiddish daily newspaper in the United States. Now, for the first time, Kipnis's stories and photographs are published together in a single book. Menachem Kipnis brings these photographs and stories into dialogue with one another, bridging the Jewish communities in Poland and in America during the interwar period. This dialogue, between image and text, between European metropolis and American metropolis, captures a key historical moment when American Jews sought to imagine the lives of their coreligionists in the "Old Country" and eastern European urban Jews sought to distinguish themselves from their Jewish compatriots who were still living in the shtetl. Including an introductory essay, annotations, and an epilogue by Sheila E. Jelen, Menachem Kipnis suggests new ways of understanding both visual and literary depictions of eastern European Jewish culture between the two world wars.

The New York City subway system is one of the largest and oldest in the world, still carrying traces of the transport systems that came before it. Some of its elevated tracks are remnants of steam railroads, and some tunnels run where canoes served as ferries. For passengers, riding the subway can feel like stepping into another world, dark and dank and sometimes dangerous. Now just imagine what it's like to work there every day. One of the few subway workers who went on to earn a PhD from Harvard, historian Fred Naiden gives readers a firsthand look at what it was like to work as a subway porter, a motorman, and a locomotive engineer during the 1980s. He recounts the labor activism of his fellow MTA employees, who advocated for better conditions, higher pay, and less institutional racism. He also shares wild stories about the riders he encountered, from a homeless former realtor who worked as a mob frontman to an angry passenger who pulled a gun on him while the train was stuck at a stop signal. Above all, Railroaded will answer many questions about the New York subway system, including how it could be improved.

Dictators and the Higher Education Dilemma explores a powerful contradiction at the heart of modern authoritarian regimes: While universities are essential for producing skilled labor and projecting national progress, they also cultivate critical thinkers who can challenge state power. Drawing on Iran's modern history, from the Pahlavi monarchy to the Islamic Republic, Saeid Golkar shows how dictators use universities not only to train technocrats and showcase development but also as tools for shaping ideology, suppressing dissent, and co-opting academics. In authoritarian systems, education becomes a double-edged sword, essential for growth yet dangerous when it empowers independent thought. Golkar reveals how regimes manipulate admissions, censor curricula, and reward loyalty to create compliant intellectuals and loyal elites. Blending personal experience with rich historical and political analysis, this book exposes the tactics used to turn universities into instruments of social control. It speaks to a growing trend worldwide, offering vital insights into the clash between authoritarian power and academic freedom from Iran to China, Russia, and beyond.

The Total Black Experience is the first book to chronicle the history and social significance of Positively Black, one of the longest-running public affairs shows in the history of television. Spurred on by the findings of the Kerner Commission, executives at WNBC-TV greenlit the show and turned production over to a small but dedicated team of storytellers who quickly made it their mission to carve out a space for serious and nuanced discussion of issues important to the Black community and to celebrate all aspects of Black culture. They believed that accurate representation of their experiences was a right, not a privilege. The show's first cohosts included the well-known Harlem-based activist Rev. Eugene Callender and Gus Heningburg, activist, successful consultant and mediator, and advocate for organized labor. Callender had founded Harlem Prep to equip young Black people for college, while Heningburg played a key role in stabilizing life in Newark following the rebellion there in the late 1960s. Both were adept at using the media to reach their constituencies. Combining in-depth interviews with painstaking archival research, The Total Black Experience introduces readers to key members of the Positively Black production team and analyzes thematic shifts in the show's content. The book celebrates Positively Black's longevity and challenges readers to explore the current state of Black representation on television.

“Welcome to the Golden Age of Women-Directed Horror.” Over the last fifteen years, there has been a sustained global influx of women artists working in mainstream and independent horror cinemas earning notable public and industry acclaim. As a result, now, for the first time in horror history, there is also a concentrated corpus of films that explicitly address topics of identity, sexuality, trauma, and monstrosity from women’s perspectives. No More Chainsaws offers an in-depth analysis of some of the earliest and underrated releases within this New Wave of Women’s Horror cinema: Catherine Hardwicke’sTwilight (2008), Karyn Kusama’s Jennifer’s Body (2009), Jennifer and Sylvia Soska’s American Mary (2012), and Kimberly Peirce’s Carrie (2013). No More Chainsaws articulates the ways in which these contemporary films attempt to liberate horror from an over-determining gendered lexicon of violence and terror.

Small colleges are a vital component of the United States higher education system. However, their unique characteristics are often overlooked in analyses that incorporate all colleges and universities. Many concepts familiar to economics professors but less familiar to more general audiences are helpful in understanding small colleges. These concepts include sophisticated ideas not typically covered in basic economics courses, such as regulatory capture, decision-making under uncertainty, and the logic of collective action. By combining economic theories with his own experiences leading small colleges, William T. Bogart provides a way for presidents, trustees, and other leaders of small colleges to more effectively help their institutions achieve their full potential.

The updated edition of Ida Lupino, Director: Her Art and Resilience in Times of Transition, an in-depth exploration of Lupino's film and television directing work, provides close readings of the films and TV episodes Lupino directed and accounts for the history of Lupino's reception, continuing into the mid-2020s, in media and film scholarship. The book gives readers a fuller understanding of Lupino's major contribution to the history of American cinema and media. The revisions update this book, the first on Lupino's directing, to address recent scholarship on Lupino's work and reinforce her abiding relevance for cinephiles and film scholars. It incorporates scholarly and popular culture references to Lupino in the last seven years. Updates include a foreword by writer and film critic Imogen Sara Smith, whose work in film scholarship and the public arena has drawn attention to Lupino and the importance of gender to film noir. Authors Therese Grisham and Julie Grossman have added a complete list of the TV episodes Lupino directed in the 1950s and '60s, as well as an updated epilogue. This new edition addresses how our views of Lupino's innovative cinema and her prodigious contributions to classic television have been taken up by others, proving that Lupino, whose reputation has waxed and waned since the middle of the twentieth century, is here to stay as a major figure in the history of American media.

Campus Whisper Networks examines how personal knowledge about student sexual assault circulates within college campus communities. Based upon both qualitative and quantitative survey data, Janet Shope and Richard Pringle's research demonstrates that students who have been sexually assaulted tell someone -almost always a friend. Most college students know someone who has been assaulted. Simply knowing, by means of relationships, that one or more peers have been assaulted affects the knowers, and the effects reverberate unevenly across campuses. Shope and Pringle highlight the structural properties that prohibit relational knowledge from becoming official institutional knowledge, confining it to whispers and secrecy within informal spheres of knowledge. The rules governing the circulation of such knowledge create an uneven epistemic field of sexual assault. This uneven field is consequential for the communities, affecting survivors and their confidants and shaping student views of the college community. Campus Whisper Networks demonstrates how personal and institutional avoidance, both the “need to not know” and “no need to know,” create knowledge gaps that hide the community’s wounds and prevent personal knowledge from becoming social knowledge.

Black and Blue TV explores the ways television productions have responded to the Black Lives Matter movement. Television programs' engagement with BLM was common before George Floyd's murder sparked international protests in the summer of 2020, at which point it became nearly unavoidable for many series. Images of police using violence against Black Americans fueled criticisms of the role of television—especially cop shows—in perpetuating "copaganda," highlighting the fact that television's cops are nearly always the good guys, even when they break the law and use excessive force. Black and Blue TV identifies trends and anomalies in television's engagement with BLM but also investigates the people who influence what those representations look like. Pairing textual criticism with interviews with television creatives, executives, and media activists, author Laurena Bernabo traces shifts in how these individuals understand their role in televisual culture and the cultural forum of narratives that are produced and distributed as a result.

Since cinema’s beginning, live actors and cartoon characters have traded places and invaded each other’s spaces, with real people getting animated and animated character getting real. The Live-Action Animated Film looks at the long history of movies that combine live action with 2D, stop-motion, and 3D animation to hallucinogenic effect. This survey suggests that the experimental and idiosyncratic mixed pics of the twentieth century set the template for the mainstream blockbusters of the twenty-first. Covering everything from Technicolor musicals and creature features to contemporary remakes and reboots, The Live-Action Animated Film brings this significant, boundary-blurring genre into sharper focus. In retrospect, the introduction of cartoons into live action looks as central to film history as the coming of sound or color.

Since the nine-month school year became common in the United States during the 1880s, schoolteachers have never really had summers off. Administrators instructed them to rest, as well as to study and travel, in the interest of creating a compliant workforce. Teachers, however, adapted administrators’ directives to pursue their own version of professionalization and to ensure their financial well-being. Summers Off explores teachers’ summer experiences between the 1880s and 1930s in institutes and association meetings; sessions at teachers colleges, Black colleges, and prestigious universities; work for wages or their family; tourism in the U.S. and Europe; and activities intended to be restful. This heretofore untold history reveals how teachers utilized the geographical and psychological distance from the classroom that summer provided, to enhance not only their teaching skills but also their professional and intellectual independence, their membership in the middle class, and, in the cases of women and Black teachers, their defiance of gender and race hierarchies.

In conversation with ninety-one women over the age of eighty in California, northern Iceland, south India, and among Sisters of St. Joseph in western New York, A View from Life’s Edge explores how, in the face of death, a sense of what really matters can clarify. Here we find a loosening of certitudes normally meant to keep life’s unwieldiness at bay, a chipping away at the illusion that any of us are captains of our own perfectly sailing ships. Reflecting on stories and opinions shared with her across the globe, Dempsey describes how a countercultural realism and an expanded sense of wonder repeatedly emerge in later life. These are offerings that call for our attention and yet face a double challenge. In as much as we strive to deny life’s finitude, we deny older adults their voices. A central conundrum of ageism is that we silence out of fear that which could quell our fears.

This original and thought-provoking study offers a fresh perspective on Zionism by exploring Hebrew culture’s ambivalent attitude toward modern sports. Drawing on extensive archival sources and contemporary literary theories, it focuses on Zionism’s surprising anxiety toward sports during the interwar heyday of “muscular Judaism,” revealing an unusual society in which athletes failed to attain national pride and distinction. Addressing themes such as the body, language, space, immigration, internationalism, amateurism, gender, and militarization, Embodying the Revolution presents an innovative reading of Jewish life in Mandate Palestine, linking the marginalization of sports to the meaning and experience of the Zionist Revolution. Idels' compelling interpretation of the appeal of sports, selfhood, and the compromises inherent in radical aspirations—narrated from the periphery of the interwar global rise of sports—challenges contemporary assumptions that dismiss ideology as an elitist myth.

Although it may seem like the proliferation of strong women on television is a feminist achievement, a deeper look into their stories tells us otherwise. The Impossible Woman examines a variety of scripted US television series across multiple genres to show how the cultural value of television’s extraordinarily talented female characters often rests upon their ability to endure—but not overcome—sexism. Looking at Parks and Recreation, The Unbreakable Kimmy Schmidt, The Marvelous Mrs. Maisel, The Queen’s Gambit, Game of Thrones, and Queen of the South, Hoerl argues that these series contribute to sexist realism, or the cultural assumption that there is no alternative to patriarchy. Situating impossible women’s struggles in the context of contemporary feminist politics, Hoerl explains how the problems facing television’s strongest women illustrate mainstream feminism’s paradoxical dependence upon on cultural misogyny, neoliberal individualism, and racism. The Impossible Woman encourages readers to seek out alternative stories that might help them envision more just feminist futures.

An elderly Korean woman talking about being forced into sexual slavery during World War II. A modern Korean woman extricating herself from a failing relationship with an artist. Award-winning South Korean writer Kim Soom presents us with portraits of two women who couldn’t be more different but who both show resilience and compassion. No Hand Held Mine: Stories, containing one non-fiction piece and one short story, demonstrates the power and breadth of Kim’s writing. “Granny Wild Goose” uses former Comfort Woman Gil Won-Ok’s own words, recorded during conversations with Kim, to tell her life story of brutality, betrayal, and survival. In “The Root’s Tale,” the female protagonist comes to understand the strength of solitary women. Both devastating and reaffirming, No Hand Held Mine shows why Kim Soom has received every major literary award in Korea. Joon-Li Kim and Doo-Sun Ryu’s sensitive translation maintains Kim’s lyricism and exquisite imagery. This book is published with the support of The Daesan Foundation.