Film Comedy and the American Dream is an examination of national identity in the era of the American superpower as projected in popular comedic films that center on issues of upward mobility. It is the story of what made audiences laugh and why, and what this says about the changing shape of the American Dream from the end of the Second World War through the first part of the twenty-first century. Through a combination of narrative and thematic analyses of popular comedic films, contextualized within a dynamic historical framework, the book traces the increasing disillusionment with this central ideology in the face of multiple forms of systemic exclusion. It argues that film comedy is a major component of the discourse surrounding the American Dream because these movies often evoke humor by highlighting the incongruities that exist between the ideals that define this nation versus the actual lived experiences of its citizens.

A NEW YORK TIMES BESTSELLER! In his first major book on the subject of income inequality, Noam Chomsky skewers the fundamental tenets of neoliberalism and casts a clear, cold, patient eye on the economic facts of life. What are the ten principles of concentration of wealth and power at work in America today? They're simple enough: reduce democracy, shape ideology, redesign the economy, shift the burden onto the poor and middle classes, attack the solidarity of the people, let special interests run the regulators, engineer election results, use fear and the power of the state to keep the rabble in line, manufacture consent, marginalize the population. In Requiem for the American Dream, Chomsky devotes a chapter to each of these ten principles, and adds readings from some of the core texts that have influenced his thinking to bolster his argument. To create Requiem for the American Dream, Chomsky and his editors, the filmmakers Peter Hutchison, Kelly Nyks, and Jared P. Scott, spent countless hours together over the course of five years, from 2011 to 2016. After the release of the film version, Chomsky and the editors returned to the many hours of tape and transcript and created a document that included three times as much text as was used in the film. The book that has resulted is nonetheless arguably the most succinct and tightly woven of Chomsky's long career, a beautiful vessel--including old-fashioned ligatures in the typeface--in which to carry Chomsky's bold and uncompromising vision, his perspective on the economic reality and its impact on our political and moral well-being as a nation. "During the Great Depression, which I'm old enough to remember, it was bad–much worse subjectively than today. But there was a sense that we'll get out of this somehow, an expectation that things were going to get better . . ." —from Requiem for the American Dream

The Routledge Handbook on the American Dream: Volume 2 explores the social, economic, and cultural aspects of the American Dream in both theory and reality in the twenty-first century. This collection of essays brings together leading scholars from a range of fields to further develop the themes and issues explored in the first volume. The concept of the American Dream, first expounded by James Truslow Adams in The Epic of America in 1931, is at once both ubiquitous and difficult to define. The term perfectly captures the hopes of freedom, opportunity and upward social mobility invested in the nation. However, the American Dream appears increasingly illusory in the face of widening inequality and apparent lack of opportunity, particularly for the poor and ethnic, or otherwise marginalized, minorities in the United States. As such, an understanding of the American Dream through both theoretical analyses and empirical studies, whether qualitative or quantitative, is crucial to understanding contemporary America. Like the first volume of The Routledge Handbook on the American Dream, this collection will be of great interest to students and researchers in a range of fields in the humanities and social sciences.

The many con men, gangsters, and drug lords portrayed in popular culture are examples of the dark side of the American dream. Viewers are fascinated by these twisted versions of heroic American archetypes, like the self-made man and the entrepreneur. Applying the critical skills he developed as a Shakespeare scholar, Paul A. Cantor finds new depth in familiar landmarks of popular culture. He invokes Shakespearean models to show that the concept of the tragic hero can help us understand why we are both repelled by and drawn to figures such as Vito and Michael Corleone or Walter White. Beginning with Huckleberry Finn and ending with The Walking Dead, Cantor also uncovers the link between the American dream and frontier life. In imaginative variants of a Wild West setting, popular culture has served up disturbing—and yet strangely compelling—images of what happens when people move beyond the borders of law and order. Cantor demonstrates that, at its best, popular culture raises thoughtful questions about the validity and viability of the American dream, thus deepening our understanding of America itself.

"Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition. Arranged chronologically, this critical study of six major sports films also tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial"--

“A portrait of growing up in America, and a portrait of family, that pulls off the feat of being both intimately specific and deeply universal at the same time. I adored this book.”—Jonny Sun “[A] high-spirited graphical memoir . . . Gharib’s wisdom about the power and limits of racial identity is evident in the way she draws.”—NPR WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR • The New York Public Library • Kirkus Reviews I Was Their American Dream is at once a coming-of-age story and a reminder of the thousands of immigrants who come to America in search for a better life for themselves and their children. The daughter of parents with unfulfilled dreams themselves, Malaka navigated her childhood chasing her parents' ideals, learning to code-switch between her family's Filipino and Egyptian customs, adapting to white culture to fit in, crushing on skater boys, and trying to understand the tension between holding onto cultural values and trying to be an all-American kid. Malaka Gharib's triumphant graphic memoir brings to life her teenage antics and illuminates earnest questions about identity and culture, while providing thoughtful insight into the lives of modern immigrants and the generation of millennial children they raised. Malaka's story is a heartfelt tribute to the American immigrants who have invested their future in the promise of the American dream. Praise for I Was Their American Dream “In this time when immigration is such a hot topic, Malaka Gharib puts an engaging human face on the issue. . . . The push and pull first-generation kids feel is portrayed with humor and love, especially humor. . . . Gharib pokes fun at all of the cultures she lives in, able to see each of them with an outsider’s wry eye, while appreciating them with an insider’s close experience. . . . The question of ‘What are you?’ has never been answered with so much charm.”—Marissa Moss, New York Journal of Books “Forthright and funny, Gharib fiercely claims her own American dream.”—Booklist “Thoughtful and relatable, this touching account should be shared across generations.”– Library Journal “This charming graphic memoir riffs on the joys and challenges of developing a unique ethnic identity.”– Publishers Weekly

Examines the formidable challenges facing the middle class, calling for fundamental changes while surveying the extent of the problem and identifying the people and agencies most responsible.

At fifteen, Linda Darnell left her Texas home and normal adolescence to live the Hollywood dream promoted by fan magazine and studio publicity offices. She appeared in dozens of films and won international acclaim for Blood and Sand (playing opposite Tyrone Power), Forever Amber, A Letter to Three Wives, and the original version of Unfaithfully Yours. Driven by a stage mother to become rich and Famous, but unable to cope with the career she had longed for as a child, Darnell soon was caught in a downward spiral of drinking, failed marriages, and exploitive relationships. By her early twenties she was an alcoholic, hardened by a life in which beautiful women were chattel, and by the time of her death at age forty- one, she was struggling for recognition in the industry that once had called her its "glory girl.” Hollywood Beauty begins in the Southwest during the Depression, when Pearl Darnell became obsessed by the glitter of the movie world that would dominate her children’s lives. We follow Linda’s path from her Texas childhood and first public success–during the state centennial, in 1936–through her contract work with Twentieth Century-Fox in the heyday of the big-studio system. Film historian Ronald L. Davis documents Darnell’s discovery and marriages, the adoption of her daughter, the marking of many well-known films, and her emotional difficulties, leading up to her tragic death by fire. This is the story of a native teenager from a dysfunctional middle-class family thrust into the golden age of Hollywood. Hollywood Beauty examines America’s public worship of movie stars and superficial success–its motives and consequences–and the addiction to escapism that this worship represents.

The story of two talent agents and their three troubled boys, heirs to Hollywood royalty; a sweeping narrative about fathers and sons, the movie business, and the sundry sea changes that have shaped Hollywood and, by extension, American life. American Dream Machine is the story of an iconic striver, a classic self-made man in the vein of Jay Gatsby or Augie March. It's the story of a talent agent and his troubled sons, two generations of Hollywood royalty. It's a sweeping narrative about parents and children, the movie business, and the sundry sea changes that have shaped Hollywood, and by extension, American life. Beau Rosenwald—overweight, not particularly handsome, and improbably charismatic—arrives in Los Angeles in 1962 with nothing but an ill-fitting suit and a pair of expensive brogues. By the late 1970s he has helped found the most successful agency in Hollywood. Through the eyes of his son, we watch Beau and his partner go to war, waging a seismic battle that redraws the lines of an entire industry. We watch Beau rise and fall and rise again, in accordance with the cultural transformations that dictate the fickle world of movies. We watch Beau's partner, the enigmatic and cerebral Williams Farquarsen, struggle to contain himself, to control his impulses and consolidate his power. And we watch two generations of men fumble and thrive across the LA landscape, learning for themselves the shadows and costs exacted by success and failure. Mammalian, funny, and filled with characters both vital and profound, American Dream Machine is a piercing interrogation of the role—nourishing, as well as destructive—that illusion plays in all our lives.

This book examines the evolution of American film comedy through the lens of language and the portrayal of social class. Christopher Beach argues that class has been an important element in the development of sound comedy as a cinematic form. With the advent of sound in the late 1920s and early 1930s, filmmakers recognized that sound and narrative enlarged the semiotic and ideological potential of film. Analyzing the use of language in the films of the Marx Brothers, Frank Capra, Woody Allen and the Coen brothers, among others, Class, Language, and American Film Comedy traces the history of Hollywood from the 1930s to the present, while offering a new approach to the study of class and social relationships through linguistic analysis.