Titlebook: Cinematic Geographies and Multicultural Spectatorship in America; Amy Lynn Corbin Book 20151st edition Amy Lynn Corbin 2015 cinema.geograp

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Primitive Cousins: Roots and Authenticity in the White South,he local sheriff sums up the cultural-geographic divide when he tells them: “The rest of America don’t mean jackshit—you’re in Mississippi now.” Such comments are aimed as much at the audience as to the outsider characters, for the Mississippi of this film is not a place many 1980s viewers would wan

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The Urban Frontier: From Inner City Tourist to Resident,of the “urban frontier,” and at the beginning of a call by inner city residents to control their on-screen image. Its police characters see themselves in a desperate last stand against urban violence and chaos: after an initial incident in which two officers are found killed in their car, another sa

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,“Home” Turns Otherworldly in the Suburbs,suburbs are typically critiques of the landscape, driven by cynicism and a sense of superiority. However, many other, usually more popular, films are set in the suburbs; these are typically cheery family comedies and uplifting coming-of-age stories. These films do not explicitly take the suburbs as

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erica evoke a sense of travel for their viewers. These virtual travel experiences from the mid-1970s through the 1990s built a societal map of "popular multiculturalism" through a movie-going experience.978-1-137-47971-6

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