to other evangelicals, and both profited, and by and large, there was nothing underhanded or hidden about it. Using the money from big businesses, American evangelicalism forayed into the world of radio, television, and publishing; evangelical schools and universities were established; and evangelical lobbyists petitioned public figures to influence both local and national legislation. For the cynic, Grem may have painted quite the contemptuous picture of conservative evangelical Christianity as a religious system dependent on big business donors. Grem himself admits, however, that “every successful movement requires money” (3). All movements, whether religious or otherwise, receive funding from corporations or business entities. Whether those causes seek Christianization or secularization, whether they are conservative or liberal, they all seek to advance an agenda or platform. This is where Grem arguably gives an unfair analysis, disparagement even, of the evangelical-business relationship. Conservative evangelicalism, as Grem adeptly reveals, simply has employed the business world and corporate structure to its advantage historically, and conservative evangelicals have done this better, arguably, than other groups. Darren E. Grem’s The Blessings of Business: How Corporations Shaped Conservative Christianity offers a necessary glimpse into the world of conservative evangelical Christianity and the businessmen and corporations that supported its rise to religious and cultural dominance in public life. This is a helpful book for those interested in both history and religion, and is sure to be an enlightening read. However, let the reader be aware that this title receives more criticism than commendation.

God's Businessmen: Entrepreneurial Evangelicals in Depression and War

What's past is prologue

In this dissertation, I argue that twenty-first century urban archival montage films eschew the dominant historiographical strategies of documentary film and encourage the development of a historically conscious spectatorship. The thesis examines three North American city-symphonies-in-reverse, Los Angeles Plays Itself (Thom Andersen, 2003), the Lost Landscapes film programs (Rick Prelinger, 2006-2017), and My Winnipeg (Guy Maddin, 2007). Each film takes as its explicit subject a North American city significant to its author—Detroit, Winnipeg, San Francisco, and Los Angeles—as seen through specific types of archival material. These particular cities have had geographically unique film cultures, and the archival material related to those film cultures shows the importance of investing in and recognizing local film cultures and histories. These films demonstrate that we have been alienated from our local histories in North America, and they provide key strategies to create historical consciousnesses. Each film in this corpus aims to persuade audiences to deal with local pasts themselves without the aid of an infallible historian to create a narrative that assembles and motivates moving image fragments to cohere with other documents into a coherent, plausible, and complete narrative. City-symphonies-in-reverse use the baroque critical methodologies of essay, anamorphosis, and reflective nostalgia to combat the effects of the abstraction of time and space. Such abstractions began to disrupt social structures and subjectivity in Western cultures some 500 years ago with central perspective and the standardization of time. I argue that these critical methodologies help to us to reconsider relationships to time and space within dominant historiographical discourse in documentary by emphasizing subjective embodied experiences of the archive. The films under analysis in this dissertation articulate valuable ways of addressing current crises in historiography, the urban imaginary, and the moving image archive, precisely through their strategic engagement with archival materials.

City-Symphonies-in-Reverse: Urban Historical Consciousness through the Baroque Moving Image Archive

Book review: radio’s civic ambition: American broadcasting and democracy in the 1930s

rationale for urban renewal that extended into the countryside (see Prashant Kidambi, “An Infection of Locality: Plague, Pythogenesis and the Poor in Bombay, c. 1896–1905,” Urban History 3, no. 2 [2004]: 249–67) that sedimented into an active, though not reflexive, public urban policy that is extant in many South Asian cities. Having trained as an architect, practiced as an urban planner, and now working as a cultural anthropologist, I see many avenues in which Glover’s work is invaluable. Linking as he does the history of the built environment, affect, and the origin and meaning of the large-scale processes of modernity, Glover helps capture the diagnostic threads of the paradoxical practices of institutional governance, as well as the problematic concentrations of capital that exist in modern day South Asian cities. Making Lahore Modern is thus mandatory reading for anyone who is interested in the temporal formations and the logics of spatiality in the postcolonial South Asian city.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/A5626176BBA9EFEB1C2F23530ACD7CD3/S0021911808001575a.pdf/div-class-title-span-class-italic-cinema-at-the-end-of-empire-a-politics-of-transition-in-britain-and-india-span-by-priya-jaikumar-durham-n-c-duke-university-press-2006-318-pp-84-95-cloth-23-95-paper-div.pdf

Cinema at the End of Empire: A Politics of Transition in Britain and India . By Priya Jaikumar. Durham, N.C.: Duke University Press, 2006. 318 pp. $84.95 (cloth); $23.95 (paper).

The Places You'll Know: From Self-Recognition to Place Recognition in the Local Film

One of the many reasons distribution has retained its status as the least understood aspect of commercial film culture has been the absence of records, particularly from the late 1910s and early 19...

The Romance Promoter with A Deadline at 11: Rural Exhibitors, Urban Exchanges, and The Emerging Culture of Film Distribution in The United States, 1918–1925

The Decline of Sentiment: American film in the 1920s

“I’ll See You in Church”:Local Films in African American Communities, 1924–1962

In a recent essay on local films from Liverpool, England, Julia Hallam argues that such motion pictures remind us of the territorialising power of the cinema, its capacity to project place as well ...

Martin L. Johnson

Papers

The Places You'll Know: From Self-Recognition to Place Recognition in the Local Film

The Romance Promoter with A Deadline at 11: Rural Exhibitors, Urban Exchanges, and The Emerging Culture of Film Distribution in The United States, 1918–1925

The Decline of Sentiment: American film in the 1920s

“I’ll See You in Church”:Local Films in African American Communities, 1924–1962

‘An Added Bonus’: Local Films, Local Newsreels and the Strand News in Warsaw, Indiana (1938–1955)