History of pastor's ministry in one place.

A comprehensive history of one of the nation's most prominent universities

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Between 1932 and 1972, approximately six hundred African American men in Alabama served as unwitting guinea pigs in what is now considered one of the worst examples of arrogance, racism, and duplicity in American medical research--the Tuskegee syphilis study. Told they were being treated for "bad blood," the nearly four hundred men with late-stage syphilis and two hundred disease-free men who served as controls were kept away from appropriate treatment and plied instead with placebos, nursing visits, and the promise of decent burials. Despite the publication of more than a dozen reports in respected medical and public health journals, the study continued for forty years, until extensive media coverage finally brought the experiment to wider public knowledge and forced its end. This edited volume gathers articles, contemporary newspaper accounts, selections from reports and letters, reconsiderations of the study by many of its principal actors, and works of fiction, drama, and poetry to tell the Tuskegee story as never before. Together, these pieces illuminate the ethical issues at play from a remarkable breadth of perspectives and offer an unparalleled look at how the study has been understood over time.