As stage lights cast a sunny glow across the stage and the spiritual “Rocka My Soul in the
Bosom of Abraham” booms through the theatre, 22 dancers array across the proscenium
stage, the men in yellow waistcoats and the women in yellow dresses and wide-brimmed
hats, holding fans. The dancers stride cheerfully in unison toward a jam-packed audience,
often as richly diverse as the dancers themselves. Audience members take to their feet,
singing, clapping, dancing in the aisles: an experience that—by choreographer's intention�…

Many potential viewers hoped that the film would finally give a positive and accurate
portrayal of African Americans in an animated Disney production. Unfortunately, in what
appears to be an attempt to avoid negatively representing African Americans, Disney does
just the opposite by glossing over the reality of being African American, let alone female and
African American in New Orleans in the 1920s. These concerns are shared by scholars who
have criticized the inaccurate portrayal of African Americans in The Princess and the Frog�…

The article examines the cultural and linguistic misrepresentations in Disney's film" The
Princess and the Frog," the first princess film with an African American princess. The author
discusses the historical and cultural inaccuracies of the portrayal of people of color in the
film. Topics include the importance of including linguistics in analyzing how a cultural text
construct characters, the linguistic markers of African American English and the reasons for
the misrepresentation.

The article offers criticism of the television show" Unbreakable Kimmy Schmidt," directed by
Tina Fey and Robert Carlock, starring Ellie Kemper. The role of the character Kimmy
Schmidt as a nanny in the show is addressed. Topics include the notion of postfeminist
popular culture in relation to work-life balance, the gendered nature of care work, and the
portrayal of the marriage of the character Jacqueline.

The article discusses the role that the American business owner JH “Jack” Haverly played in
managing and developing blackface minstrel shows in the US during the late 19th century
and early 20th century. An overview of Haverly's advertisements and marketing efforts for the
minstrel shows is provided.

During the earliest and most frigid years of the Cold War, 1947–53, the overwhelming
majority of America's media and public opinion promoted the idea that Soviet society was
something close to a complete ''dystopia.''Life in the land of Stalin was said to be fraught with
terror, stifling conformity, mental and physical regimentation, and, for many, slavery and
extermination. For Americans, no charges concerning the ''cradle to grave''control over
Soviet citizens seemed too outlandish or horrifying to be believed. In fact, by 1947, the�…

The article focuses on the use of sound and aural motifs in focalizing trauma in Vietnam
combat films such as" Apocalypse Now." It comments on the manipulation of sound effects,
primarily the sounds of songs, American and Vietnamese voices, and the sounds of
helicopter rotors in using subjective aural objects to focalize trauma. It talks about how
helicopter sounds in the film function within the diegensis and are folded into the music
score. It examines the use of sound motifs in other films.