The author examines both the economic and cultural aspects of television, and investigates it in terms of both theory and text-based criticism. Fiske introduces the main arguments from current British, American, Australian and French scholarship in a style accessible to the student, providing an integrated study of approaches to the medium.

    Boys will be boys, women have been told for generations, ignore it, shrug it off, take it as a compliment. But the harassment has real consequences for women: in the fear it instills and the shame they are made to feel. In Stop Telling Women to Smile, Tatyana Fazlalizadeh uses her arresting street art portraits to explore how women experience hostility in communities that are supposed to be homes. She addresses the pervasiveness of street harassment, its effects, and the kinds of activism that can serve to counter it. The result is a cathartic reckoning with the aggression women endure, and an examination of what equality truly entails.

    From Karl Heinrich Ulrichs, a German activist described by some as the first openly gay man, to the world of Berlin’s vast homosexual subcultures, to a major sex scandal that enraptured the daily newspapers and shook the court of Emperor William II—and on through some of the very first sex reassignment surgeries—Robert Beachy uncovers the long-forgotten events and characters that continue to shape and influence the way we think of sexuality today. Chapter by chapter Beachy’s scholarship illuminates forgotten firsts, including the life and work of Dr. Magnus Hirschfeld, first to claim (in 1896) that same-sex desire is an immutable, biologically determined characteristic, and founder of the Institute for Sexual Science. Though raided and closed down by the Nazis in 1933, the institute served as, among other things, “a veritable incubator for the science of tran-sexuality,” scene of one of the world’s first sex reassignment surgeries. Fascinating, surprising, and informative—Gay Berlin is certain to be counted as a foundational cultural examination of human sexuality.

    This innovative primer highlights sexual liberation as it traces the lineage of “witch feminism.” Juxtaposing scholarly research on the demonization of women and female sexuality that has continued since the witch hunts of the early modern era with pop occulture analyses and interviews with activists, artists, scholars, and practitioners of witchcraft, this book enriches our contemporary conversations about reproductive rights, sexual pleasure, queer identity, pornography, sex work, and more.Kristen J. Sollee is instructor at The New School and founding editrix of Slutist, an award-winning sex positive feminist website."

    In the '60s, the Matriarch, the willfully unmarried baby machine leeching off the state, joined them. These stereotypes persist to this day through newspaper headlines, Sunday sermons, social media memes, cable punditry, government policies, and hit song lyrics. Emancipation may have happened more than 150 years ago, but America still won't let a sister be free from this coven of caricatures.Tamara Winfrey Harris delves into marriage, motherhood, health, sexuality, beauty, and more, taking sharp aim at pervasive stereotypes about black women. She counters warped prejudices with the straight-up truth about being a black woman in America. "We have facets like diamonds," she writes. "The trouble is the people who refuse to see us sparkling."

    Since then the event itself has become the stuff of legend, with relatively little hard information available on the riots themselves. Now, based on hundreds of interviews, an exhaustive search of public and previously sealed files, and over a decade of intensive research into the history and the topic, Stonewall brings this singular event to vivid life in this, the definitive story of one of history's most singular events.

    Boorstin’s prophetic vision of an America inundated by its own illusions has become an essential resource for any reader who wants to distinguish the manifold deceptions of our culture from its few enduring truths.Cover design by Matt Dorfman.

    As an Ahmadi Muslim growing up in Pakistan, she faced regular threats from Islamic extremists who believed the small, dynamic sect to be blasphemous. From her parents, she internalized the lesson that revealing her identity could put her in grave danger.When her family came to Canada as refugees, Samra encountered a whole new host of challenges: bullies, racism, the threat of poverty, and an arranged marriage. Backed into a corner, her need for a safe space--in which to grow and nurture her creative, feminist spirit--became dire. The men in her life wanted to police her, the women in her life had only shown her the example of pious obedience, and her body was a problem to be solved.So begins an exploration of faith, art, love, and queer sexuality, a journey that takes her to the far reaches of the globe to uncover a truth that was within her all along. A triumphant memoir of forgiveness and family, both chosen and not, We Have Always Been Here is a rallying cry for anyone who has ever felt out of place and a testament to the power of fearlessly inhabiting one's truest self.

    Amid growing awareness of police violence, individual Black men including Michael Brown, Eric Garner, Philando Castile, and Freddie Gray have been the focus of most media-driven narratives. Yet Black women, Indigenous women, and other women of color also face daily police violence. Invisible No More places the individual stories of women and girls such as Sandra Bland, Dajerria Becton, Mya Hall, and Rekia Boyd into broader contexts, centering women of color within conversations around the twin epidemics of police violence and mass incarceration. Invisible No More also documents the evolution of a movement for justice for women of color targeted by police that has been building for decades, largely in the shadows of mainstream campaigns for racial justice and police accountability. Informed by twenty years of research and advocacy by Black lesbian immigrant and police-misconduct attorney Andrea Ritchie, this groundbreaking work demands a sea change in how police violence is understood by mainstream media, policymakers, academics, and the general public, as well as a radical rethinking of our visions of safety and the means we devote to achieving it."

    Intrigued by a Carnaval parade that mysteriously paid homage to a Rio de Janeiro plastic surgeon, anthropologist Alexander Edmonds conducted research that took him from Ipanema socialite circles to glitzy telenovela studios to the packed waiting rooms of public hospitals offering free cosmetic surgery. The result is provocative exploration of the erotic, commercial, and intimate aspects of beauty in a nation with extremes of wealth and poverty and a reputation for natural sensuality. Drawing on conversations with maids and their elite mistresses, divorced housewives, black celebrities, and favela residents aspiring to be fashion models, Edmonds analyzes what sexual desirability means and does for women in different social positions. He argues that beauty is a distinct realm of modern experience that does not simply reflect other inequalities. It mimics the ambiguous emancipatory potential of capital, challenging traditional hierarchies while luring consumers into a sexual culture that reduces the body to the brute biological criteria of attractiveness. Illustrated with color photographs, Pretty Modern offers a fresh theoretical perspective on the significance of female beauty in consumer capitalism.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    But she increasingly felt she could no longer trust in the God she’d been implicitly taught to worship—a white male God who preferentially empowered white men despite his claim to love all people. A God who clearly did not relate to, advocate for, or affirm a Black woman like Christena. Her crisis of faith sent her on an intellectual and spiritual journey through history and across France, on a 400-mile walking pilgrimage to the ancient shrines of Black Madonnas to find healing in the Sacred Black Feminine. God Is a Black Woman is the chronicle of her liberating transformation and a critique of a society shaped by white patriarchal Christianity and culture. Christena reveals how America’s collective idea of God as a white man has perpetuated hurt, hopelessness, and racial and gender oppression. Integrating her powerful personal story, womanist ideology, as well as theological, historical, and social science research, she invites us to take seriously the truth that God is not white nor male and gives us a new and hopeful path for connecting with the divine and honoring the sacredness of all Black people.

    Mehra's family: her wife, who is white; her adopted son, who is black; and their experiences dealing with America's rigid ideas of race, gender, and sexuality. Her clear-eyed and incisive writing on her family's daily struggle to make space for themselves amid racial intolerance and stereotypes personalizes some of America's most fraught issues. Mehra writes candidly about her efforts to protect and shelter her young son from racial slurs on the playground and from intrusive questions by strangers while educating him on the realities and dangers of being a black male in America. In other essays, she discusses her childhood living in the racially polarized city of Memphis; coming out as queer; being an adoptive mother who is brown; and what it's like to be constantly confronted by people's confusion, concern, and expectations about her child and her family. Above all, Mehra argues passionately for a more nuanced and compassionate understanding of identity and family.Both poignant and challenging, Brown, White, Black is a remarkable portrait of a loving family on the front lines of some of the most highly charged conversations in our culture.

    Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive.Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

    . . is among the bravest of us, the most outraged. She feels for all. She is the universal poet.”—Alice Walker“Always urgent, inspiring, and demanding, Jordan’s work has left its indelible mark everywhere from Essence to The Norton Anthology of Poetry, and from theater stages to the floors of the United Nations and the United States Congress.”—BOMBDirected by Desire is the definitive overview of the poetry of June Jordan, considered one of the most lyrically gifted poets of the late twentieth century. Directed by Desire gathers the finest work from Jordan’s 10 volumes, as well as 70 new, never-before-published poems that she wrote while dying of breast cancer. Throughout over 600 pages readers will find intimate lyricism, elegance, fury, meditative solos, and dazzling vernacular riffs.As Adrienne Rich writes in her introduction, June Jordan “wanted her readers, listeners, students, to feel their own latent power—of the word, the deed, of their own beauty and intrinsic value. . . . She believed, and nourished the belief, that genuine, up-from-the-bottom revolution must include art, laughter, sensual pleasure, and the widest possible human referentiality.”From These PoemsThese poems they are things that I do in the dark reaching for you whoever you are and are you ready?June Jordan taught at the University of California Berkeley for many years and founded Poetry for the People. Her 28 books include poetry, essays, fiction, and children’s books. She was a regular columnist for The Progressive and a prolific writer whose articles appeared in The Village Voice, The New York Times, Ms. Magazine, and The Nation. Her numerous awards include a PEN West Freedom to Write Award and a lifetime achievement award from the National Black Writers Conference. After her death from breast cancer in 2002, a school in the San Francisco School District was renamed in her honor.