From film festivals to university campuses, from private homes to first-run theaters, people everywhere are viewing and discussing gay, lesbian, queer, bisexual, and transgender films and videos. Between the Sheets, In the Streets considers these videos and films, testifying to the unavoidable connectionsbetween sexuality (the sheets) and activism (the streets) for all who identify as gay, lesbian, or queer in the 1990s. This first collection of essays to focus exclusively on queer, lesbian, and gay documentary argues that documentary films and videos speak with a sense of political and social urgency, acting as testaments to the importance of reclaiming history and asserting the importance of these points of view. Among the topics discussed are representations of young queers on such shows as MTV's The Real World; pre-Stonewall films; portrayals of lesbians and aging; video activism in Oregon and the South; and the works of Derek Jarman, Su Friedrich, Cheryl Dunye, and Sadie Benning. A range of films and videos is examined, including Strangers in Good Company, Paris Is Burning, Juggling Gender, Silverlake Life, and Without You I'm Nothing.
The Author of this book, Chris Briscoe, wrote this to help us all come closer to answering that great mystery, "Is there a God?" Chris invites us to approach this problem from a different angle. For example, when scientists discovered six billion chemical-codes written on our double-threads of DNA (the double-helix- "double- spiral staircase") - it forces us to ask the question, "How could nature have written all that code when nature does not have a mind - it does not have real intelligence but works according to commands, so how could nature have written all that code or even inspired itself to write the code; which our bodies need to build the trillions of molecular machinery our bodies need, let alone which the first supposed cell needed when it arrived here on the earth. Scientists, engineers and architects today acknowledge that those molecular machines are actually the epitome of perfectly design and function; therefore, they are the strongest evidence that there must be a most intelligent mind and molecular scientist behind nature to have been inspired and designed every organism. Chris' premise is that when we look into the world of the cell and even the most "rudimentary" organism, it reveals a level of design element and complexity which could not have possibily originated in nature, alone. In other words, there must be a mind behind nature, the most intelligent molecular mind, just as there has to be a programmer behind computer program made. (Book's Index: Christian Apologetics)
‘Ageing, Corporeality and Embodiment’ outlines and develops an argument about the emergence of a ‘new ageing’ during the second half of the twentieth century and its realisation through the processes of ‘embodiment’. The authors argue that ageing as a unitary social process and agedness as a distinct social location have lost much of their purchase on the social imagination. Instead, this work asserts that later life has become as much a field for ‘not becoming old’ as of ‘old age’. The volume locates the origins of this transformation in the cultural ferment of the 1960s, when new forms of embodiment concerned with identity and the care of the self arose as mass phenomena. Over time, these new forms of embodiment have been extended, changing the traditional relationship between body, age and society by making struggles over the care of the self central to the cultures of later life.
This text provides a comprehensive review of the contribution of network analysis to the understanding of tourism destinations and organisations. It discusses both the theoretical and methodological underpinnings of network analysis and then illustrates the relevance of this approach in a series of tourism applications.
After World War II, Hollywood’s “social problem films”—tackling topical issues that included racism, crime, mental illness, and drug abuse—were hits with critics and general moviegoers alike. In an era of film famed for its reliance on pop psychology, these movies were a form of popular sociology, bringing the academic discipline’s concerns to a much broader audience. Sociology on Film examines how the postwar “problem film” translated contemporary policy debates and intellectual discussions into cinematic form in order to become one of the preeminent genres of prestige drama. Chris Cagle chronicles how these movies were often politically fractious, the work of progressive directors and screenwriters who drew scrutiny from the House Un-American Activities Committee. Yet he also proposes that the genre helped to construct an abstract discourse of “society” that served to unify a middlebrow American audience. As he considers the many forms of print media that served to inspire social problem films, including journalism, realist novels, and sociological texts, Cagle also explores their distinctive cinematic aesthetics. Through a close analysis of films like Gentleman’s Agreement, The Lost Weekend, and Intruder in the Dust, he presents a compelling case that the visual style of these films was intimately connected to their more expressly political and sociological aspirations. Sociology on Film demonstrates how the social problem picture both shaped and reflected the middle-class viewer’s national self-image, making a lasting impact on Hollywood’s aesthetic direction.
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