Patriarch Of The American Frontier

This book offers an original critique of the billionaire founders of US West Coast tech companies, addressing their collective power, influence, and ideology, their group dynamics, and the role they play in the wider sociocultural and political formations of digital capitalism. Interrogating not only the founders’ political and economic ambitions, but also how their corporations are omnipresent in our everyday lives, the authors provide robust evidence that a specific kind of patriarchal power has emerged as digital capitalism’s mode of command. The ‘New Patriarchs’ examined over the course of the book include: Sergey Brin and Larry Page of Google, Elon Musk of Tesla, Jeff Bezos of Amazon, Mark Zuckerberg of Facebook, and Peter Thiel. We also include Sheryl Sandberg. The book analyses how these (mostly) men legitimate their rapidly acquired power, tying a novel kind of socially awkward but ‘visionary’ masculinity to exotic forms of shareholding. Drawing on a ten million word digital concordance, the authors intervene in feminist debates on patriarchy, masculinity, and postfeminism, locating the power of the founders as emanating from a specifically racialised structure of oppression tied to imaginaries of the American frontier, the patriarchal household, and settler colonialism. This is an important interdisciplinary contribution suitable for researchers and students across Digital Media, Media and Communication, and Gender and Cultural Studies.

Life on the frontier in the decades before the Revolution was extremely difficult and uncertain. It was a world populated by Native Americans, merchants, fur traders, land speculators, soldiers and settlers—including women, slaves, and indentured servants. Each of these groups depended on the others in some way, and collectively they formed the patchwork that was life on the frontier. Using a wealth of material culled from primary sources, Dunn paints a vivid picture of a world caught up in the winds of change, a world poised on the edge of revolution. Life on the frontier in the decades before the Revolution was extremely difficult and uncertain. It was a world populated by Indians, merchants, fur traders, land speculators, soldiers and settlers—including women, slaves, and indentured servants. Each of these groups depended on the others in some way, and collectively they formed the patchwork that was life on the frontier. Using a wealth of material culled from primary sources, Dunn paints a vivid picture of a world caught up in the winds of change, a world poised on the edge of revolution. In the 15 years preceding the American Revolution, the existence of the frontier exerted a dominant influence on the colonial economy. The possibility of new territory in the West and the removal of the French army offered an enormous opportunity for economic expansion but such prospects were not without risk. Farmers worked endlessly to clear a few scant acres for production. Traders struggled to reach remote areas to bargain with local tribes. Merchants weighted the possibilities for enormous profit with huge risk. Native Americans faced increasing encroachment upon their traditional lands. Women and slaves played a greater role in opening the frontier than many sources have indicated.

American Gothic literature inherited many time-worn tropes from its English Gothic precursor, along with a core preoccupation: anxiety about power and property. Yet the transatlantic journey left its mark on the genre--the English ghostly setting becomes the wilderness haunted by spectral Indians. The aristocratic villain is replaced by the striving, independent young man. The dispossession of Native Americans and African Americans adds urgency to traditional Gothic anxieties about possession. The unchanging role of woman in early Gothic narratives parallels the status of American women, even after the Revolution. Twentieth-century Gothic works offer inclusion to previously silent voices, including immigrant writers with their own cultural traditions. The 21st century unleashes the zombie horde--the latest incarnation of the voracious American.

The study follows the early evolution of the American frontier hero, from its roots in Mary Rowlandson's narration of her experiences as a prisoner during King Phillip's war through works by Unca Eliza Winkfield, Charles Brockden Brown, James Fenimore Cooper, the film-maker John Ford, and actor John Wayne.

Whether they prefer blockbusters, historical dramas, or documentaries, people learn much of what they know about history from the movies. In American History Goes to the Movies, W. Bryan Rommel-Ruiz shows how popular representations of historic events shape the way audiences understand the history of the United States, including American representations of race and gender, and stories of immigration, especially the familiar narrative of the American Dream. Using films from many different genres, American History Goes to the Movies draws together movies that depict the Civil War, the Wild West, the assassination of JFK, and the events of 9/11, from The Birth of a Nation and Gone with the Wind to The Exorcist and United 93, to show how viewers use movies to make sense of the past, addressing not only how we render history for popular enjoyment, but also how Hollywood’s renderings of America influence the way Americans see themselves and how they make sense of the world.

The last decade has seen a major shift in the way nineteenth-century American history is interpreted, and increasing attention is being paid to the market revolution occurring between 1815 and the Civil War. This collection of twelve essays by preeminent scholars in nineteenth-century history aims to respond to Charles Sellers's The Market Revolution, reflecting upon the historiographic accomplishments initiated by his work, while at the same time advancing the argument across a range of fields.