LEADER 02127nam 2200397 n 450 001 996391803803316 005 20200824121812.0 035 $a(CKB)4940000000109085 035 $a(EEBO)2240904094 035 $a(UnM)99864499e 035 $a(UnM)99864499 035 $a(EXLCZ)994940000000109085 100 $a19931116d1648 uy | 101 0 $aeng 135 $aurbn||||a|bb| 200 00$aBloody nevves rom [sic] the Scottish Army$b[electronic resource] $econcerning the late bloody fight upon Munday last, six miles on this side Carlisle, between the 2. armies of England and Scotland, the one commanded by Major Gen. Lambert, the other by his Excellency Duke Hamilton. With the number that were slain and taken prisoners on both sides, and the resolution of the Scottish Army thereupon, and the names of the chiefe commanders of Scotland, which were wounded in the fight. Likewise the Scottish message to the English army, and their answer and resolution thereupon. With the declaration of the county of Kent, concerning the landing of the Duke of York, and the coming in tothe [sic] Scotish army 210 $aLondon $cprinted for general satisfaction, of the English and Scottish ..$d[1648] 215 $a[2], 6 p 300 $aPublication date from Wing. 300 $aConsists of 4 letters: 1) dated: Perith Iuly 16. 1648; 2) signed and dated: Avan July 18. 1648. J. Hambleton; 3) signed I. Lambert; 4) dated: Waymer Castle July the 20. 1648. 300 $aAnnotation on Thomason copy: "July 21". 300 $aReproduction of the original in the British Library. 330 $aeebo-0018 607 $aGreat Britain$xHistory$yCivil War, 1642-1649$vEarly works to 1800 607 $aKent (England)$xHistory$vEarly works to 1800 701 $aHamilton$b James Hamilton$cDuke of,$f1606-1649.$01005102 701 $aLambert$b John$f1619-1683.$01005103 712 02$aScotland.$bArmy. 801 0$bCu-RivES 801 1$bCu-RivES 801 2$bCStRLIN 801 2$bWaOLN 906 $aBOOK 912 $a996391803803316 996 $aBloody nevves rom the Scottish Army$92310037 997 $aUNISA LEADER 03821oam 2200649I 450 001 9910967223503321 005 20251130110101.0 010 $a9780231542975 010 $a0231542976 024 7 $a10.7312/lind17250 035 $a(CKB)3710000000919831 035 $a(StDuBDS)EDZ0001666809 035 $a(DE-B1597)478166 035 $a(OCoLC)979621014 035 $a(DE-B1597)9780231542975 035 $a(Au-PeEL)EBL4723088 035 $a(CaPaEBR)ebr11289275 035 $a(CaONFJC)MIL972030 035 $a(OCoLC)961454389 035 $a(MiAaPQ)EBC4723088 035 $a(Perlego)774050 035 $a(NyNyDIG)DIGCOLUP0762 035 $a(EXLCZ)993710000000919831 100 $a20161109h20172017 uy 0 101 0 $aeng 135 $aurcnu|||uuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aFeasting Our Eyes $eFood Films and Cultural Identity in the United States /$fLaura Lindenfeld and Fabio Parasecoli 210 1$aLa Vergne, New York :$cColumbia University Press,$d2017. 210 4$dİ2017 215 $a1 online resource (278 pages) $cillustrations, photographs 311 1 $a9780231172509 311 1 $a0231172508 311 1 $a9780231172516 311 1 $a0231172516 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- 1. Food Films and Consumption: Selling Big Night -- 2. Autonomy in the Kitchen? Food Films and Post feminism -- 3. Magical Food, Luscious Bodies -- 4. Culinary Comfort: Th e Satiating Construction of Masculinity -- 5. When Weirdos Stir the Pot: Cooking Identity in Animated Movies -- 6. Consuming the Other: Food Films as Culinary Tourism -- Conclusion -- Notes -- Bibliography -- Index 330 $aBig Night (1996), Ratatouille (2007), and Julie and Julia (2009) are more than films about food-they serve a political purpose. In the kitchen, around the table, and in the dining room, these films use cooking and eating to explore such themes as ideological pluralism, ethnic and racial acceptance, gender equality, and class flexibility-but not as progressively as you might think. Feasting Our Eyes takes a second look at these and other modern American food films to emphasize their conventional approaches to nation, gender, race, sexuality, and social status. Devoured visually and emotionally, these films are particularly effective defenders of the status quo.Feasting Our Eyes looks at Hollywood films and independent cinema, documentaries and docufictions, from the 1990s to today and frankly assesses their commitment to racial diversity, tolerance, and liberal political ideas. Laura Lindenfeld and Fabio Parasecoli find women and people of color continue to be treated as objects of consumption even in these modern works and, despite their progressive veneer, American food films often mask a conservative politics that makes commercial success more likely. A major force in mainstream entertainment, American food films shape our sense of who belongs, who has a voice, and who has opportunities in American society. 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