Annessa Babic
Annessa Ann Babic is a freelance writer and professor. She holds a PhD in American History from the State University of New York at Stony Brook, and she specializes in women’s studies, American social/cultural history, and transnational American studies. She is the author and co-editor of several books, and she has produced numerous book chapters, reference entries, book reviews, and journal articles. Her publications deal extensively on nationalism, women’s rights, women's liberation, Turkish-US relations, transnational feminism, and travel literature. Also, she has several publications outside of academia, is also the co-chair of the European Association of American Studies Women’s Steering Committee, and is a local activist. Currently, she is examining cultural diversity, the empowerment of travel literature, and the economic structure of tourism on women in the Aegean Sea region and the larger Mediterranean.
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propaganda campaigns of its kind. The propaganda of the immediate post-war period developed in a systematic manner via a plethora of genres, and agencies by proxy. These depictions ranged from posters crying out for the protection of US children, movies with the “Commie menace” as the protagonist, government sponsored witch-hunts, and the idealization of women as housewives. During these years, society viewed women’s removal from the home as essential to national security
and the protection of American ideals. Yet, with the so-called outbreak of peace and pressures for containment, women—as portrayed via products and elements of popular culture—needed to be re-educated on their behavior. Milton Bradley’s popular Battleship game provides a subtle window into this turbulent, and much discussed, soul of the 1950s. The printed and prescribed modes for activities within the home were not the only propaganda waves of the 1950s. Wonder Woman, the
valiant and sexy hero birthed during the Second World War, not only fought the commie menace but she (and her alter ego Diana Prince) reinforced the modes of domestic behavior for women and children via exploits to bring harmony and peace and find her own love and man to come home to. Accordingly, this paper examines the dreams and fantasies of the 1950s via the manipulation of the female’s image.
ISSN: 2626-2975
This special issue of Food and Foodways explores the meaning of food in relation to American wars, specifically World War II, as we have recently commemorated the 70th anniversary of the end of the monumental event (1945). The Second World War defined American politics, culture, and society for more than half the 20th century, especially when one takes into consideration the long aftermath of the war—the Cold War. This issue excavates the ways in which World War II impacted American foodways and Americans' relationship with certain food products, particularly eggs and chocolate, while spanning topics such as war and food scarcity; food as social, cultural, economic, and political currency; food, war, and children; propaganda and patriotism; nutrition during wartime; and transnational interactions within the context of war and food.
These films, primarily set in the post-World War II period (but before Roe), serve as forms of protest reminding audiences of the illegal period. In Revolutionary Road the abortion subject takes on the form of suicide, the loss of a dreamer, and the imagery of abortion is juxtaposed against the backdrop the traditional and ideal family. While the movies here show a counter to illegal access, clips of fetuses with an overlapped laughing baby infiltrating television shows (one example, The Drew Carey Show) permeate with messages of pro-life. Thus, this discursive debate demands a critical examination as the access and defining of women’s bodies remains a topic at large with legislative mandates serving as portals of fetish desire and regulation.
The paper is available via the link.
propaganda campaigns of its kind. The propaganda of the immediate post-war period developed in a systematic manner via a plethora of genres, and agencies by proxy. These depictions ranged from posters crying out for the protection of US children, movies with the “Commie menace” as the protagonist, government sponsored witch-hunts, and the idealization of women as housewives. During these years, society viewed women’s removal from the home as essential to national security
and the protection of American ideals. Yet, with the so-called outbreak of peace and pressures for containment, women—as portrayed via products and elements of popular culture—needed to be re-educated on their behavior. Milton Bradley’s popular Battleship game provides a subtle window into this turbulent, and much discussed, soul of the 1950s. The printed and prescribed modes for activities within the home were not the only propaganda waves of the 1950s. Wonder Woman, the
valiant and sexy hero birthed during the Second World War, not only fought the commie menace but she (and her alter ego Diana Prince) reinforced the modes of domestic behavior for women and children via exploits to bring harmony and peace and find her own love and man to come home to. Accordingly, this paper examines the dreams and fantasies of the 1950s via the manipulation of the female’s image.
ISSN: 2626-2975
This special issue of Food and Foodways explores the meaning of food in relation to American wars, specifically World War II, as we have recently commemorated the 70th anniversary of the end of the monumental event (1945). The Second World War defined American politics, culture, and society for more than half the 20th century, especially when one takes into consideration the long aftermath of the war—the Cold War. This issue excavates the ways in which World War II impacted American foodways and Americans' relationship with certain food products, particularly eggs and chocolate, while spanning topics such as war and food scarcity; food as social, cultural, economic, and political currency; food, war, and children; propaganda and patriotism; nutrition during wartime; and transnational interactions within the context of war and food.
These films, primarily set in the post-World War II period (but before Roe), serve as forms of protest reminding audiences of the illegal period. In Revolutionary Road the abortion subject takes on the form of suicide, the loss of a dreamer, and the imagery of abortion is juxtaposed against the backdrop the traditional and ideal family. While the movies here show a counter to illegal access, clips of fetuses with an overlapped laughing baby infiltrating television shows (one example, The Drew Carey Show) permeate with messages of pro-life. Thus, this discursive debate demands a critical examination as the access and defining of women’s bodies remains a topic at large with legislative mandates serving as portals of fetish desire and regulation.
The paper is available via the link.