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Jamestown Interpretive Essays - Women in Early …
When I came onto the project in the late 1970s, also influentialfor me were Marxism and the ideological critique of romantic authorship sincethese theories assumed a historical materialist base. This philosophicalposition was much more credible to explain history and historical change. Italso fit with my biography as a working-class daughter who was a first-generationcollege student. Itmatched my political progressivism. Turning to an eclectic group of Marxisttheorists—Harry Braverman, Raymond Williams, Jean-Louis Comolli, John Ellis,Louis Althusser, and other analyses of modes of production—I looked for(and found) valuable explanations about how and why labor divided and constructedsystems of bureaucracy and work patterns to insure both the standardization anddifferentiation of an entertainment product. One of the points that I stressedwas that “what was occurring was not a result of a Zeitgeist orimmaterial forces. The sites of the distribution of these practices werematerial: labor, professional, and trade associations, advertising materials,handbooks, film reviews” (CHC, 89). Although I had not beenreading contemporaneous structural-functionalist production of culture literatureby Howard Becker, Paul DiMaggio, Paul Hirsch, Richard A. Peterson, and others,similar general issues permeated both sets of literature even if the theoreticalexplanations differed.
If you allow it while you're in Arizona, you're a criminal
We’ll suppose that this is a nice, easylittle cliff with a drop of only about forty feet. Played as one scene, the camerawould have to be so far away from the cliff in order to get in both top and bottomthat the players would be about two inches high on a big picture. The expressioncould not be seen and practically none of the details of the action. But by cuttingback we can get, each time, the full detail and at the same time get the suggestionof height. Look at this: