The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to provide one go-to reference for the study of the most popular and iconic villains in American popular culture. Since the 1980s, pop culture has focused on what makes a villain a villain. The Joker, Darth Vader, and Hannibal Lecter have all been placed under the microscope to get to the origins of their villainy. Additionally, such bad guys as Angelus from Buffy the Vampire Slayer and Barnabas Collins from Dark Shadows have emphasized the desire for redemption—in even the darkest of villains. Various incarnations of Lucifer/Satan have even gone so far as to explore the very foundations of what we consider "evil." The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to collect all of those stories into one comprehensive volume. The volume opens with essays about villains in popular culture, followed by 100 A–Z entries on the most notorious bad guys in film, comics, and more. Sidebars highlight ancillary points of interest, such as authors, creators, and tropes that illuminate the motives of various villains. A glossary of key terms and a bibliography provide students with resources to continue their study of what makes the "baddest" among us so bad.

American Villains explores the lives, deeds and punishments of 177 of the most infamous villains of our time. What makes this set unique is that it focuses on U.S. criminals who are not generally covered in American biographical surveys. While there are many books that cover fictional villains in videogames, comic-books, and movies, few cover real villains of history in one convenient set.

Arguing that the contemporary commitment to the importance of cultural identity has renovated rather than replaced an earlier commitment to racial identity, Walter Benn Michaels asserts that the idea of culture, far from constituting a challenge to racism, is actually a form of racism. Our America offers both a provocative reinterpretation of the role of identity in modernism and a sustained critique of the role of identity in postmodernism. "We have a great desire to be supremely American," Calvin Coolidge wrote in 1924. That desire, Michaels tells us, is at the very heart of American modernism, giving form and substance to a cultural movement that would in turn redefine America's cultural and collective identity--ultimately along racial lines. A provocative reinterpretation of American modernism, Our America also offers a new way of understanding current debates over the meaning of race, identity, multiculturalism, and pluralism. Michaels contends that the aesthetic movement of modernism and the social movement of nativism came together in the 1920s in their commitment to resolve the meaning of identity--linguistic, national, cultural, and racial. Just as the Johnson Immigration Act of 1924, which excluded aliens, and the Indian Citizenship Act of the same year, which honored the truly native, reconceptualized national identity, so the major texts of American writers such as Cather, Faulkner, Hurston, and Williams reinvented identity as an object of pathos--something that can be lost or found, defended or betrayed. Our America is both a history and a critique of this invention, tracing its development from the white supremacism of the Progressive period through the cultural pluralism of the Twenties. Michaels's sustained rereading of the texts of the period--the canonical, the popular, and the less familiar--exposes recurring concerns such as the reconception of the image of the Indian as a symbol of racial purity and national origins, the relation between World War I and race, contradictory appeals to the family as a model for the nation, and anxieties about reproduction that subliminally tie whiteness and national identity to incest, sterility, and impotence.

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies, 2nd Edition is a lively introduction to issues of diversity as represented within the American cinema. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality Includes over 100 illustrations, glossary of key terms, questions for discussion, and lists for further reading/viewing Includes new case studies of a number of films, including Crash, Brokeback Mountain, and Quinceañera

With neither mercy nor apology, AMERICAN BLOW JOB penetrates to the core of America's now vacuous soul and exposes Lady Liberty for the paramour that in fact she has become in the late twentieth and early twenty-first centuries.