The questions go beyond the nature of male/female to a yet-to-be-traversed region that lies somewhere between and beyond biologically determined gender. In this groundbreaking anthology, three experts in gender studies and politics navigate around rigid, societally imposed concepts of two genders to discover and illuminate the limitless possibilities of identity. Thirty first-person accounts of gender construction, exploration, and questioning provide a groundwork for cultural discussion, political action, and even greater possibilities of autonomous gender choices. Noted scholar Joan Nestle is joined by internationally prominent gender warrior Riki Anne Wilchins and historian Clare Howell to provide a societal, cultural, and political exploration of gender identity.Marketing Plans: National Advertising: The Advocate Academic mailing to gender studies and queer studies professors Media campaign hilighting authors Nestle and WilchinsJoan Nestle is the cofounder of the Lesbian Herstory Archives in New York and the writer and editor of six books including the groundbreaking Women on Women series. Riki Anne Wilchins is the executive director of GenderPAC, the national gender advocacy group, and the cofounder of the Gender Identity Project of New York City's Lesbian and Gay Center. She is the author of Read My Lips: Sexual Subversion and the End of Gender. Clare Howell is a senior librarian at the Brooklyn Public Library.

    According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored." So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, "Film as a Subversive Art" analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.

    Your students will gain an appreciation and understanding of ancient and modern cultures through myths and epics from the Middle East, Greece and Rome, the Far East and Pacific islands, the British Isles, Northern Europe, Africa, and the Americas. An introduction and historical background supplement each myth. Questions at the end of each selection prompt analysis and response.

    Herman and Noam Chomsky show that, contrary to the usual image of the news media as cantankerous, obstinate, and ubiquitous in their search for truth and defense of justice, in their actual practice they defend the economic, social, and political agendas of the privileged groups that dominate domestic society, the state, and the global order.Based on a series of case studies—including the media’s dichotomous treatment of “worthy” versus “unworthy” victims, “legitimizing” and “meaningless” Third World elections, and devastating critiques of media coverage of the U.S. wars against Indochina—Herman and Chomsky draw on decades of criticism and research to propose a Propaganda Model to explain the media’s behavior and performance. Their new introduction updates the Propaganda Model and the earlier case studies, and it discusses several other applications. These include the manner in which the media covered the passage of the North American Free Trade Agreement and subsequent Mexican financial meltdown of 1994-1995, the media’s handling of the protests against the World Trade Organization, World Bank, and International Monetary Fund in 1999 and 2000, and the media’s treatment of the chemical industry and its regulation. What emerges from this work is a powerful assessment of how propagandistic the U.S. mass media are, how they systematically fail to live up to their self-image as providers of the kind of information that people need to make sense of the world, and how we can understand their function in a radically new way.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    His main target is the all-pervasive figure of the child, which he reads as the linchpin of our universal politics of “reproductive futurism.” Edelman argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. He boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order. In No Future, Edelman urges queers to abandon the stance of accommodation and accede to their status as figures for the force of a negativity that he links with irony, jouissance, and, ultimately, the death drive itself.Closely engaging with literary texts, Edelman makes a compelling case for imagining Scrooge without Tiny Tim and Silas Marner without little Eppie. Looking to Alfred Hitchcock’s films, he embraces two of the director’s most notorious creations: the sadistic Leonard of North by Northwest, who steps on the hand that holds the couple precariously above the abyss, and the terrifying title figures of The Birds, with their predilection for children. Edelman enlarges the reach of contemporary psychoanalytic theory as he brings it to bear not only on works of literature and film but also on such current political flashpoints as gay marriage and gay parenting. Throwing down the theoretical gauntlet, No Future reimagines queerness with a passion certain to spark an equally impassioned debate among its readers.

    The 32 theories represented in the text reflect a mix of foundational and recent scholarship and strike a balance of scientific and interpretive approaches.

    First published before the World Trade Organization protests in Seattle, this is an infuriating, inspiring, and altogether pioneering work of cultural criticism that investigates money, marketing, and the anti-corporate movement.As global corporations compete for the hearts and wallets of consumers who not only buy their products but willingly advertise them from head to toe—witness today's schoolbooks, superstores, sporting arenas, and brand-name synergy—a new generation has begun to battle consumerism with its own best weapons. In this provocative, well-written study, a front-line report on that battle, we learn how the Nike swoosh has changed from an athletic status-symbol to a metaphor for sweatshop labor, how teenaged McDonald's workers are risking their jobs to join the Teamsters, and how "culture jammers" utilize spray paint, computer-hacking acumen, and anti-propagandist wordplay to undercut the slogans and meanings of billboard ads (as in "Joe Chemo" for "Joe Camel").No Logo will challenge and enlighten students of sociology, economics, popular culture, international affairs, and marketing."This book is not another account of the power of the select group of corporate Goliaths that have gathered to form our de facto global government. Rather, it is an attempt to analyze and document the forces opposing corporate rule, and to lay out the particular set of cultural and economic conditions that made the emergence of that opposition inevitable." —Naomi Klein, from her Introduction

    Students and instructors rely on the careful balance of accurate, current research and applications to the real lives of adolescents. The fully-revised eleventh edition includes a new chapter on health, expanded coverage of late adolescence, and more than 1200 research citations from the 21st century.