What’s Next for ECRs? Introducing Rachel Williams, our new Early Career Representative

As I enter my first year as Early Career Representative for BAAS, a priority of my agenda is to help members combat the isolation, demoralisation, and demotivation that can sometimes plague this stage of the academic career, writes Rachel Williams. Following on from the launch of the Adam Matthew Digital essay prize and BAAS Survey pioneered by my predecessor Ben Offiler, I plan to support the early career community through a series of events, such as peer-review workshops, that will help ECRs maintain momentum and enthusiasm in their research, and build a sense of community and solidarity among young scholars of American Studies in this country.

What’s Next for BAAS and EAAS? Introducing Sue Currell, our new EAAS Representative

As the new EAAS representative for BAAS, I hope to build on the success of my predecessor Martin Halliwell by forging stronger connections and knowledge-sharing between the members of BAAS and EAAS, writes Sue Currell. During my term I will be looking at best-practice in EAAS as an organization, as well as offering my knowledge of outreach, inclusivity and media communications as a former Chair of BAAS.

Report from Henry Knight Lozano, BAAS Founders’ Award recipient 2016

The BAAS Founders’ Research Travel Award enabled me to carry out an invaluable archival trip to the University of Hawaii to research United States’ Pacific expansion and the California-Hawaii relationship in the nineteenth and twentieth centuries, writes Henry Knight Lozano. The archives reveal how California and Hawaii were tied together in promotional visions from the U.S. acquisition of California in 1848 to the Second World War.

Report from Tom Fallows, BAAS Marcus Cunliffe Award recipient 2016

The BAAS Marcus Cunliffe Travel Award enabled me to gather new material on George A. Romero’s film production company Laurel Entertainment Inc. and track developments within American independent film, writes Tom Fallows. My visits to Columbia University in New York and Carnegie Mellon University in Pittsburgh demonstrate how geographic, economic, legal and institutional forces feed into independent films as cultural objects.