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On homosexuality in cinema.
Introducing a radical approach to wellness: This self-help guide rejects ‘one-size-fits-all’ dieting and health advice to offer practical strategies and tools for getting healthy—your way. What kind of society makes being healthy and happy so difficult that only a single-digit percentage of the population can hope to pull it off? The answer: A sick society. And within a sick society—one where illness, anxiety, and depression are the prevailing norms—what does it mean to be one of the few people to beat those unhealthy odds? It means bucking a lot of your society’s norms and rejecting a lot of its conventional health prescriptions. It also means acknowledging a disturbing truth: If you aren’t breaking the rules, you’re probably breaking yourself. That’s the simple, provocative philosophy behind The Healthy Deviant, one seasoned health journalist’s quest to reframe healthy choices as a positive form of social rebellion. Combining hand-drawn infographics and statistics with insights from sociology, psychology, evolutionary biology, functional medicine, and the school of hard knocks, this category-defying book rejects the idea that diet and exercise alone can save us—or are even the best places to start. Gerasimo’s 14-day Healthy-Deviant Adventure Program presents a series of powerful perspective shifts and simple daily practices—plus illustrations, infographics, worksheets, reminders, and progress tracking tools—that put you firmly back in charge of your own wellbeing. Part manifesto, part whispered wake-up call, The Healthy Deviant is a modern-day survival guide for being a healthy person in an unhealthy world. Starting now.
A psychopath called the Sandman delights in slaughtering families and obliterating neighborhoods--and catching it all on a sophisticated network of surveillance cameras. Detective Jack Casey, a former FBI profiler whose life was shattered by an unspeakable crime, knows the Sandman wants him to witness the mass murders. Now in a race to save the next family, Jack must face his own inner demons.
Masculinity without men. In Female Masculinity Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances. Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. She rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity. She considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. She also explores issues of transsexuality among "transgender dykes"--lesbians who pass as men--and female-to-male transsexuals who may find the label of "lesbian" a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators. Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.
“As timely as it is well-written, this clear-eyed collection is just what I need right now.” —Jacqueline Woodson, author of Brown Girl Dreaming “The intersectional feminist anthology we all need to read” (Bustle), edited by a feminist activist and writer who “calls to mind a young Audre Lorde” (Kirkus) Why do some women struggle to identify as feminists, despite their commitment to gender equality? How do other aspects of our identities – such as race, religion, sexuality, gender identity, and more – impact how we relate to feminism? Why is intersectionality so important? In challenging, incisive, and fearless essays – all of which appear here for the first time – seventeen writers from diverse backgrounds wrestle with these questions, and more. A groundbreaking book that elevates underrepresented voices, Can We All Be Feminists? offers the tools and perspective we need to create a 21st century feminism that is truly for all. Including essays by: Soofiya Andry, Gabrielle Bellot, Caitlin Cruz, Nicole Dennis-Benn, Brit Bennett, Evette Dionne, Aisha Gani, Afua Hirsch, Juliet Jacques, Wei Ming Kam, Mariya Karimjee, Eishar Kaur, Emer O’Toole, Frances Ryan, Zoé Samudzi, Charlotte Shane, and Selina Thompson
"A testament to the synergy of two evolving fields. From the study of staged performances to examinations of the performing body in everyday life, this book demonstrates the enormous profitability of moving beyond disability as metaphor. . . . It's a lesson that many of our cultural institutions desperately need to learn." -Martin F. Norden, University of Massachusetts-Amherst This groundbreaking collection imagines disabled bodies as "bodies in commotion"-bodies that dance across artistic and discursive boundaries, challenging our understanding of both disability and performance. In the book's essays, leading critics and artists explore topics that range from theater and dance to multi-media performance art, agit-prop, American Sign Language theater, and wheelchair sports. Bodies in Commotion is the first collection to consider the mutually interpretive qualities of these two emerging fields, producing a dynamic new resource for artists, activists, and scholars.
The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.
Film culture often rejects visually rich images, treating simplicity, austerity, or even ugliness as the more provocative, political, and truly cinematic choice. Cinema may challenge traditional ideas of art, but its opposition to the decorative represents a long-standing Western aesthetic bias against feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal, colonial perspective--which treats decorative style as foreign or sexually perverse--filmmakers, critics, and theorists have often denigrated colorful, picturesque, and richly patterned visions in cinema. Condemning the exclusion of the "pretty" from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scène, painterly framing, and arabesque camera movements-styles increasingly central to world cinema. From European art cinema to the films of Wong Kar-wai and Santosh Sivan, from the experimental films of Derek Jarman to the popular pleasures of Moulin Rouge!, the pretty is a vital element of contemporary cinema, communicating distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, uniquely able to figure cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art theory, film theory, and philosophy, Galt reclaims prettiness as a radically transgressive style, shimmering with threads of political agency.
This book argues that philosophy is as practical as plumbing and what we need right now is what philosophers can offer as philosophers to help us all, our species, and beyond, through this ecological emergency, this climate change, this anthropocene. This book is about the meaning and purpose of philosophy as a way of, a practice of, responding to the ecological emergency, which includes climate change, biodiversity loss, pollution, habitat destruction, and all the associated impacts that fragment, and threaten to create collapse, among the systems that created and sustain us. There are the related economic and social impacts, the fragmentation of communities and political ideologies through attitude polarisation, and the increasing threats to systems by those who seek to promote further exploitation at the expense of attempts to regain some system of cooperation and an attitude of compassion which is at the heart of our survival strategies as a species. Philosophy has always sought to address questions related both to our place in the universe, and to how to live, given our understanding of our place. Those of us committed to a philosophical life have used a range of metaphors and narratives to enlighten, and to exhort to action, those who would seek to understand what to do, how, and why. Philosophy has played a key role in helping us as a species to respond to the ecological emergency. What, then, is the practice of philosophy, given that we’re in an ecological emergency? This question is the thread, and it forms the framework for the dialogue that runs through the book.
A collection of original essays focusing on masculinity and film, particularly the representation of European masculinity. Spilt into four sections -- stars, class and race, fathers and bodies -- areas covered include the Carmen films, Yiddish cinema, romantic comedy and beur cinema.