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

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https://doi.org/10.1007/978-4-431-55897-2rcastically asks, “What is this, Gunfight at the OK Corral?” By establishing this dichotomy of savage urban residents and cowboy-cops, the film offers a textbook outsider position for its spectator. And yet, contradicting this imperialist position, the film is prefaced with a title card that reads:

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M. Ray Perryman,Nancy S. Perrymaners, and so discourse about this cultural landscape structures America’s initial familiar/foreign dichotomy. In this sense, this first chapter is a sort of “prequel” to the rest of the book and its interest in the post-sixties era’s multicultural travel. The prominent cycle of Westerns that focus on

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Alberta H. Charney,Carol A. Taylorhe 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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https://doi.org/10.1007/978-4-431-55897-2suburbs 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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Book 20151st editionExploration, intertwined with home-seeking, has always defined America. Corbin argues that films about significant cultural landscapes in America 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.

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https://doi.org/10.1007/978-1-137-47971-6cinema; geography; map

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