By Benjamin Balthaser
Anti-Imperialist Modernism excavates how U.S. cross-border, multi-ethnic anti-imperialist activities at mid-century formed what we comprehend as cultural modernism and the historic interval of the good melancholy. The e-book demonstrates how U.S. multiethnic cultural pursuits, positioned in political events, small journals, hard work unions, and struggles for racial liberation, helped build a standard feel of foreign team spirit that critiqued rules of nationalism and essentialized racial id. The e-book therefore strikes past debts that experience tended to view the pre-war “Popular entrance” via tropes of nationwide belonging or an abandonment of the cosmopolitanism of past many years. awesome archival study brings to gentle the ways that a transnational imaginative and prescient of modernism and modernity was once shaped via anti-colonial networks of North/South team spirit. Chapters learn farmworker photographers in California’s vital valley, a Nez Perce highbrow touring to the Soviet Union, imaginations of the Haitian Revolution, the reminiscence of the U.S.–Mexico battle, and U.S. radical writers touring to Cuba. The final bankruptcy examines how the chilly warfare foreclosed those routine inside of a nationalist framework, whilst activists and intellectuals needed to suppress the transnational nature in their activities, usually rewriting the cultural prior to comply to a patriotic narrative of nationwide belonging.
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Additional info for Anti-Imperialist Modernism: Race and Transnational Radical Culture from the Great Depression to the Cold War
S. S. S. financial capital directly or indirectly controls. Part of what has obscured the transnational affiliations of the Popular Front, however, is that Europe was largely displaced as a site of identification. With the bold and crucial exception of Spain, European governments were either fascist or soon to become fascist; intellectual exiles for a change were steaming to New York, Havana, Leningrad, and Los Angeles rather than Berlin, Paris, or Rome. In this sense, the transnational character of the Popular Front was shaped as an identification and solidarity with what would come to be called the third world.
At stake is a historical question about the meaning of the Popular Front as a political and aesthetic movement. Rewriting the cultural history of the 1930s and 1940s allows us to consider both the lineages and the precursors of current left movements, suggesting ways in which the Occupy Wall Street movement and opposition to the Iraq War and the World Trade Organization may have broadened analysis in some areas while narrowing them in others. Such a reading also allows for often isolated or differentiated strands of analysis—the literary, the political, race, capitalism, the nation—to be placed within the pressure and test of political praxis.
Chapter 6, my final chapter, investigates the way the Cold War both suppressed and reshaped the public imaginary of the transnational Popular Front, using film to explore the production of a sanitized, nationalist 1930s nostalgia. My argument centers on archived revisions of the blacklisted film Salt of the Earth, citing the way the constraints of the Cold War limited what was initially a film that was transnational in scope. ” I also argue that film noir, while critical of Cold War domesticity, reified a conservative vision of the Popular Front era, often by representing Popular Front themes of labor, collectivity, and anticapitalist modes of existence as sealed off in the past or as fragments of an agrarian American past.