nostalgia films. Perhaps most tellingly, these films, such as This is England (2006) and Son of Rambow (2007), although made in the 2000s, are set in a specific period in the recent past—the 1980s. This rapport between boyhood and the elegiac
1980s Boyhood in British Cinema, 2005–2010
Changes in Israeli politics, diplomacy, and the Israeli-Arab conflict, changes in Israeli cultural texts dealing with the conflict, and changes in Israeli writing of fiction—all led to significant changes in how the Israeli-Arab conflict is portrayed in Israeli fiction written in the 1980s. Comprising fictional texts about the conflict, the novels and films examined in this article actually deal with the inability to tell the story. The conflict is portrayed as too deep-rooted and complicated, to the extent that it is impossible to recount it and construct a dialogue or to find common grounds for comprehending it. The texts almost always end up in death, no Jewish-Arab personal relation prevails, and most of the interactions are through the military. According to the texts examined here, these two societies appear to need the conflict in order to overcome bitter conflicts within themselves; and Arab-Palestinian Israeli citizens feel that they cannot live in Israel.
Popularization, Representational Politics, and Social Identities
popular rock singer of the time. The song can be associated with a series of representations that circulated in early 1980s Greece. Many cultural products, such as movies, songs, and publications sketched out motorcycling as a deviant lifestyle, mostly
Canada and Airport Refugee Claimants in the 1980s
enormous backlog in asylum claims that had rapidly accumulated by the end of the 1980s. 2 Detained and then deported after requesting legal entry to Canada, Paul was one of a significant number of people who unsuccessfully requested asylum at Canadian
Queer Girls’ Voices in the Liberation Era
Amanda H. Littauer
Drawing on letters and essays written by teenage girls in the 1970s and early 1980s, and building on my historical research on same-sex desiring girls and girlhoods in the postwar United States, I ask how teenage girls in the 1970s and early 1980s pursued answers to questions about their feelings, practices, and identities and expressed their subjectivities as young lesbian feminists. These young writers, I argue, recognized that they benefitted from more resources and role models than did earlier generations, but they objected to what they saw as adult lesbians’ ageism, caution, and neglect. In reaching out to sympathetic straight and lesbian public figures and publications, girls found new ways to combat the persistent isolation and oppression faced by youth whose autonomy remained severely restricted by familial, educational, and legal structures.
Marty McFly as a 1980s Teenage Boy Role Model
to films about teenage boys that were set and made in the 1980s, because, however incidentally, they offer role models for those of us who hope to raise slightly less overscheduled boys. (I confess to personal interest; I have two small sons.) When we
The West German Green Party's 1983 entrance into the Bundestag marked a major break, both in the history of this young political force and the parliamentary system of the Bonn Republic. The Greens had been founded in opposition to the guiding principles of the West German postwar consensus and conceived of themselves as an “anti-parliamentary party.” Although they had gained parliamentary experience in some regional chambers, their entrance onto the national parliamentary stage juxtaposed old ideals and new challenges—for the Greens themselves as well as for German political culture. Taking this singular historic moment as a starting point, this article summarizes the formation of the Greens in the context of the changing political and ideological landscape of the 1970s. It also contrasts the party's formation with the transformations in terms of program and personnel that it undertook during the 1980s. The focus lies less on the specific activities of the green parliamentary group than on the broader developments in green politics and thinking.
The Transformation of Katarina Witt throughout the 1980s
At the 1987 World Figure Skating Championship, Katarina Witt skated to instrumental music from West Side Story playing the role of Maria. But how could her performance to Broadway show tunes be in line with SED ideology? Through histoire croisée— establishing multiple intersections with different cultures and tracing their continuing effects—this article examines how Witt’s, her coach Jutta Müller’s and choreographer Rudy Suchy’s privileged exposure to Western culture through dance, music, film, experiences abroad, and other skaters’ choreography and costuming inspired reappropriated manifestations through an East German lens into the packaging of Witt’s skating programs in the 1980s. Using television broadcasts, I analyze the gradual to overt Americanization of her programs as her government loosened its grips by granting her more artistic freedom.
Kah Seng Loh and Michael D. Pante
A history of urban floods underlines the state's efforts to discipline people as well as to control floodwaters. We focus on two big cities in Southeast Asia—Singapore and Metro Manila—in the period from after World War II until the 1980s. During this period, both cities traversed similar paths of demographic and socioeconomic change that had an adverse impact on the incidence of flooding. Official responses to floods in Singapore and Manila, too, shared the common pursuit of two objectives. The first was to tame nature by reducing the risk of flooding through drainage and other technical measures, as implemented by a modern bureaucracy. The second was to discipline human nature by eradicating “bad” attitudes and habits deemed to contribute to flooding, while nurturing behavior considered civic-minded and socially responsible. While Singapore's technocratic responses were more effective overall than those in Metro Manila, the return of floodwaters to Orchard Road in recent years has highlighted the shortcomings of high modernist responses to environmental hazards. This article argues that in controlling floods—that is, when nature is deemed hazardous—the state needs to accommodate sources of authority and expertise other than its own.
Swedish Feminist Comics and Cartoons from the 1970s and 1980s
Anna Nordenstam and Margareta Wallin Wictorin
The success of Swedish feminist comics at the beginning of the twenty-first century, represented by, among others, the cartoonists Liv Strömquist and Nina Hemmingsson, can be traced back to precursors in the 1970s and 1980s. This article argues