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Clara finds herself in the hands of a brutal killer....... She also learns exactly what it means to be a vampire....... But will she ever get past the Lara issue????
Television and streamed series that viewers watch on their TVs, computers, phones, and tablets are a crucial part of popular culture They have an influence on viewers and on law. People acquire values, behaviors, and stereotypes, both positive and negative, from television shows, which are relevant to people’s acquisition of beliefs and to the development of law.. In this book, readers will find the first transnational, empirical look at ethnicity, gender, and diversity on legally-themed TV shows. Scholars determine the three most watched legally-themed shows in Brazil, Britain, Canada, Germany, Greece, Poland, Switzerland and the United States and then examine gender, age, ability, ethnicity, race, class, sexual orientation and nationality in those shows and countries. As such, this book provides an important link between law, TV, and what is going on in real life.
On the night of October 6, 1894, Frank Westwood was shot to death by an unknown assailant as he stood in the doorway of his home. Six weeks later, Clara Ford – a Black tailor and single mother known for wearing men’s attire – was arrested and confessed to the murder. But as the details of her arrest and her history with Westwood emerged, Clara recanted, testifying that she was coerced by police into a false confession. Carolyn Whitzman tells the story of a courageous Black woman in nineteenth-century Toronto and paints a portrait of a city and a society that have not changed enough in 125 years.
A man waits to cross la línea, the U.S.-Mexico border, as a guard scrutinizes him from behind dark sunglasses. Two grown brothers living three thousand miles apart struggle to reconnect through the static of a bad phone connection. A young mother trying to adjust to small-town life in a new country tells her children about the border city where she grew up—the dances and parties and cruises along the boulevard. The stories in Santiago Vaquera-Vásquez’s intimate conversational narrative take readers around the world, from the orchards of California to the cornfields of Iowa, from the neighborhoods of Madrid and Mexico City to the Asian shore of Istanbul. As the characters navigate borders and border crossings—both physical and psychological—they attempt to make sense of their increasingly complex memories and relationships.
In this explosive fantasy debut, a provincial girl must work with an infuriatingly handsome prince to escape a nightmarish curse that forces them to relive the same night over and over. "The time-loop fantasy you never knew you needed, where the fairytale ball is bloody and Cinderella is the Final Girl."—Gina Chen, New York Times bestselling author of Violet Made of Thorns Seventeen-year-old Anaïs just wants tonight to end. As an outsider at the kingdom’s glittering anniversary ball, she has no desire to rub shoulders with the nation’s most eligible (and pompous) bachelors—especially not the notoriously roguish Prince Leo. But at the stroke of midnight, an explosion rips through the palace, killing everyone in its path. Including her. The last thing Anaïs sees is fire, smoke, chaos . . . and then she wakes up in her bedroom, hours before the ball. No one else remembers the deadly attack or believes her warnings of disaster. Not even when it happens again. And again. And again. If she’s going to escape this nightmarish time loop, Anaïs must take control of her own fate and stop the attack before it happens. But the court's gilded surface belies a rotten core, full of restless nobles grabbing at power, discontented commoners itching for revolution, and even royals who secretly dream of taking the throne. It's up to Anaïs to untangle these knots of deadly deceptions . . . if she can survive past midnight.
With the enchanting backdrop of Lake Starnberg as its setting, the novel features Alexandra ‘Sasha’ Strauss, a young woman of Japanese and German descent, who finds herself on the cusp of love and career. As she tutors the challenging daughter of Marie Nyman and Arabella Cooper during her last year of university, Sasha’s path unexpectedly crosses that of the enigmatic French-Canadian film producer, Dominique Thibault. Dominique, a woman with a mysterious past, is collaborating with the renowned director Juliette Simon on a film located in a run-down hotel on the south side of the lake. Sasha, an aspiring professional photographer, seizes the opportunity to intern as a stills photographer on their set. Amid the glitz and glamour of the movie world, an undeniable attraction ignites between the ambitious intern and the aloof producer. As Sasha and Dominique navigate their growing feelings, secrecy becomes paramount. However, when Sasha is framed by a malicious individual on set, Dominique’s response shatters their delicate trust. Can they overcome the pain and rebuild what they once had, or will their love be lost forever?
This book explores vampire narratives that have been expressed across multiple media and new technologies. Stories and characters such as Dracula, Carmilla and even Draculaura from Monster High have been made more "real" through their depictions in narratives produced in and across different platforms. This also allows the consumer to engage on multiple levels with the "vampire world," blurring the boundaries between real and imaginary realms and allowing for different kinds of identity to be created while questioning terms such as "author," "reader," "player" and "consumer." These essays investigate the consequences of such immersion and why the undead world of the transmedia vampire is so well suited to life in the 21st century.
Male Jealousy: Literature and Film is a critical and cultural theory-based study of male jealousy in western culture and its connections with paranoia. By tracing the meanings of jealousy and the representation of jealous men (married or unmarried, heterosexual or homosexual), Lo argues that jealousy is promoted within patriarchy and within what Derrida characterises as logocentricism, where to love is the desire to be loved, and where love cannot be guaranteed in any form of sexual relationship. Contrasting the difference between jealousy and its closely linked concept, envy, this book explores the economy of possession and its relationship to the body, and argues, controversially, that jealousy is an even more modern concept than envy. Informed by critical theory, engaging in particular with Derrida, Deleuze, Freud, Lacan and Kristeva, the study offers close readings of key works by Cervantes, Shakespeare, Proust, Buñuel, Vidor and Almodóvar, in which a spectrum of different forms of jealousy are portrayed.