Landscape of fear: A social history of the missile during the early years of the Cold War, 1950–1965

The missile's significance has been central to national security since the Soviet launching of Sputnik, and became increasingly important throughout the years of the Cold War. Much has been written about missile technology, but little has been written about how the development and deployment of this weapon affected Americans. The missile was developed to both deter war but also to win war. Its presence, however, was not always reassuring. Three areas of the United States are studied to evaluate the social implications of the missile during these pivotal years: San Francisco, home of multiple Nike installations; of Cape Canaveral, Florida, the nation's primary missile test center; the Great Plains, the location of the largest ICBM concentration in the country. Interviews were conducted, tours of facilities were taken, and local newspapers were reviewed. In conjunction with national newspapers and magazines and public opinion polls, this information provided a local social context for missile history. Nationally and locally, Americans both feared and praised the new technology. They were anxious for government funding in their cities and often felt that the danger the missile brought to their communities by making it as a Soviet target was justified in the larger cause for national security.

Landscape of fear : a social history of the missile during the early years of the cold war, 1950-1965

The missile's significance has been central to national security since the Soviet launching of Sputnik, and became increasingly important throughout the years of the Cold War. Much has been written about missile technology, but little has been written about how the development and deployment of this weapon affected Americans. The missile was developed to both deter war but also to win war. Its presence, however, was not always reassuring. Three areas of the United States are studied to evaluate the social implications of the missile during these pivotal years: San Francisco, home of multiple Nike installations; of Cape Canaveral, Florida, the nation's primary missile test center; the Great Plains, the location of the largest ICBM concentration in the country. Interviews were conducted, tours of facilities were taken, and local newspapers were reviewed. In conjunction with national newspapers and magazines and public opinion polls, this information provided a local social context for missile history. Nationally and locally, Americans both feared and praised the new technology. They were anxious for government funding in their cities and often felt that the danger the missile brought to their communities by making it as a Soviet target was justified in the larger cause for national security.

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.

Lecture by Lance Fung, given at Florida International University, January 7, 2008

Lance Fung shares images from his "Snow Show" exhibition, along with images from a number of exhibitions in New York City, followed by images from his proposal for an exhibition at the Beijng Olympics. Introduction by Dahlia Morgan.