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Benedict examines press treatment of four notorious sex crimes from the past decade and shows how victims are labelled either as virgins or vamps, a practice she condemns as misleading and harmful.
Honorable Mention, 2003 Myers Outstanding Book Award presented by The Gustavus Myers Center for the Study of Bigotry and Human Rights in North America Through an analysis of television images of rape, this book makes important contributions to theories of the public sphere as well as feminist theories of rape. It shows how issues pertaining to race and gender are integrated in television discussions of rape, and how ideas of race, stereotypes of black (male and female) sexuality, and the perceived threat of miscegenation continue to shape contemporary attitudes toward sexual violence.
Famous for being deathly serious, the vampire genre has a consistent yet often critically overlooked subgenre--the comedic spoof and satire. This is the first book dedicated entirely to documenting and analyzing the vampire comedy on film and television. Various types of comedy are discussed, outlining the important differences between spoofing, serious-spoofing, parody and satire. Seminal films such as Abbott and Costello Meet Frankenstein, Love at First Bite, Vampire in Brooklyn, Dracula: Dead and Loving It and What We Do In the Shadows are featured. More importantly, this book demonstrates how comedy is central to both the common perception of the vampire and the genre's ever-evolving character, making it an essential read for those interested in the laughing undead and creatures that guffaw in the night.
Includes short entries for actresses, genres, studios and topics.
Now over twenty years old, the original edition ofNightmare Movies has retained its place as a true classic of cult filmcriticism. In this new edition, Kim Newman brings his seminal work completelyup to date, both reassessing his earlier evaluations and adding a second partthat analyses the last two decades of horror films with all the wit,intelligence and insight for which he is known. Since the publication of thefirst edition, horror has been on a gradual upswing and has gained a new andstronger hold over the film industry. Newman negotiates his way through a vastback catalogue of horror and charts the on-screen progress of our collectivefears and bogeymen, from the low-budget slasher movies of the 1960s, through tothe slick releases of the 2000s. Nightmare Movies is an invaluable companion that not onlyprovides a newly updated history of the darker side of film but also acts as atruly entertaining guide with which to explore the less well-trodden paths ofhorror and rediscover the classics with a newly instructed eye.
Until recently, very little was known about medieval shoes. Glimpses in manuscript illustrations and on funerary monuments, with the occasional reference by a contemporary writer, was all that the costume historian had as evidence, not least because leather tends to perish after prolonged contact with air, and very few actual examples survived. In recent years, however, nearly 2,000 shoes, many complete and in near-perfect condition, have been discovered preserved on the north bank of the Thames, and are now housed in the Museum of London. This collection, all from well-dated archaeological contexts, fills this vast gap in knowledge, making it possible to chart precisely the progress of shoe fashion between the twelfth and fifteenth centuries.
About 2,500 genre films are entered under more than 100 subject headings, ranging from abominable snowmen through dreamkillers, rats, and time travel, to zombies, with a brief essay on each topic: development, highlights, and trends. Each film entry shows year of release, distribution company, country of origin, director, producer, screenwriter, cinematographer, cast credits, plot synopsis and critical commentary.
Includes section "Book reviews" and other bibliographical material.
“Intriguing from page one…White asks hard questions about desire, damnation, love and sacrifice in a beautiful, poetic way that will keep you utterly spellbound.”—Anya Bast In a dark and seedy underground of burned-out rock stars and angels-turned-vampires, a revolutionary neuroscientist and a fallen angel must pit medicine against mythology in an attempt to erase their tortured pasts... Olivia, vampire and fallen angel of desire, is hopeless...and damned. Since the fall from Eden, she has hungered for love, but fed only on desire. Dominic O'Shaughnessy is a neuroscientist plagued by impossible visions. When his research and her despair collide at L'OtelMathillide—a subterranean hell of beauty, demons, and dreams—rationalist and angel unite in a clash of desire and damnation that threatens to destroy them both.
Far from offering another study that bemoans Arab women’s repression and veiling, Anxiety of Erasure looks at Arab women writers living in the diaspora who have translated their experiences into a productive and creative force. In this book, Al-Samman articulates the therapeutic effects of revisiting forgotten histories and of activating two cultural tropes: that of the maw’udah (buried female infant) and that of Shahrazad in the process of revolutionary change. She asks what it means to develop a national, gendered consciousness from diasporic locals while staying committed to the homeland. Al-Samman presents close readings of the fiction of six prominent authors whose works span over half a century and define the current status of Arab diaspora studies—Ghada al-Samman, Hanan al-Shaykh, Hamida al-Na‘na‘, Hoda Barakat, Samar Yazbek, and Salwa al-Neimi. Exploring the journeys in time and space undertaken by these women, Anxiety of Erasure shines a light on the ways in which writers remain participants in their homelands’ intellectual lives, asserting both the traumatic and the triumphant aspects of diaspora. The result is a nuanced Arab women’s poetic that celebrates rootlessness and rootedness, autonomy and belonging.