Word: homeness
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Dates: during 1990-1990
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...myth of Eden records the first trauma of homelessness. Home, after that expulsion, is what we make, what we build. We build our own home again, endlessly, in memory of Eden, or hope of it. Past or future. The present is never contented, perfection is hypothetical, and home is always incomplete...
...flesh is home: African nomads without houses decorate their faces and bodies instead. The skull is home. We fly in and out of it on mental errands. The highly developed spirit becomes a citizen of its own mobility, for home has been internalized and travels with the homeowner. Home, thus transformed, is freedom. Everywhere you hang your hat is home. Home is the bright cave under...
America is saturating the world with its myths, its fantasies, its tunes and dreams. At a moment of deep self-doubt at home, American entertainment products -- movies, records, books, theme parks, sports, cartoons, television shows -- are projecting an imperial self-confidence across the globe. Entertainment is America's second biggest net export (behind aerospace), bringing in a trade surplus of more than $5 billion a year. American entertainment rang up some $300 billion in sales last year, of which an estimated 20% came from abroad. By the year 2000, half of the revenues from American movies and records will...
...amount of time and money the average postadolescent American spends in the thrall of entertainment remains astounding: 40 hours and $30 a week, if industry statistics are to be believed. By the time U.S. culture goes overseas, it has been tried, tested and usually proved successful at home...
...entertainment. But the industry is also undergoing profound change in its essential financial and cultural dynamic: moving toward the European and Asian customer as a major source of revenue while moving away from American network television as the creative and economic magnet. Rambo III earned $55 million at home but $105 million abroad...