Thanks for your patience during our recent outage at scalar.usc.edu. While Scalar content is loading normally now, saving is still slow, and Scalar's 'additional metadata' features have been disabled, which may interfere with features like timelines and maps that depend on metadata. This also means that saving a page or media item will remove its additional metadata. If this occurs, you can use the 'All versions' link at the bottom of the page to restore the earlier version. We are continuing to troubleshoot, and will provide further updates as needed. Note that this only affects Scalar projects at scalar.usc.edu, and not those hosted elsewhere.
12022-05-02T19:36:59-07:00FMST '22de2ad159ac64e95345c5a7de6719acaf2b572228404955A video essay by Zarahy Rivas and Damion DeShield The Hollywood sports film genre’s connection to culture provides the ability to define. At the national level that means the creating or correcting of national identity and values. In Rocky, these qualities serve to promote traditional American ideals of manhood, but with a focus on the condition of white men. The film responds to the social and economic anxieties present in 1970s America, including the city Philadelphia, with a figure and story meant to increase a sense of confidence, pride, and power in white American men which by extension means the same for the Nation. An added layer of historical context focuses on the 1970s post-Civil rights backlash. Frank Rizzo, a policeman-turned-mayor is known as a white Italian (like Rocky) that played into the national hostility against the “threat of blackness” by opposing beneficial projects to African Americans and having a “tough on crime” policy that disproportionately affected Black communitiesplain2022-05-17T18:27:10-07:00FMST '22de2ad159ac64e95345c5a7de6719acaf2b572228