2003 CHOICE Outstanding Academic Title Performing Whiteness crosses the boundaries of film study to explore images of the white body in relation to recent theoretical perspectives on whiteness. Drawing on such diverse critical methodologies as postcolonial studies, feminist film criticism, anthropology, and phenomenology, Gwendolyn Audrey Foster examines a wide variety of films from early cinema to the present day in order to explore the ways in which American cinema imposes whiteness as a cultural norm, even as it exposes its inherent instability. In discussions that range from The Philadelphia Story to Attack of the 50 Foot Woman, Foster shows that, though American cinema is an all-white construct, there exists the possibility of a healthy resistance to cultural norms of race, gender, sexuality, and class.
Written in a straightforward and engaging style, this premier textbook provides students with the foundation in microbiology that they need to perform their day-to-day duties in a safe and knowledgeable manner. Coverage includes the core themes and concepts outlined for an introductory course by the American Society for Microbiology. Developed for current and future healthcare professionals, the text offers vital coverage of antibiotics and other antimicrobial agents, epidemiology and public health, hospital-acquired infections, infection control, and the ways in which microorganisms cause disease. This comprehensive new Ninth Edition explores the major viral, bacterial, fungal, and parasitic human diseases, including patient care, and how the body protects itself from pathogens and infectious diseases. A bound-in CD-ROM and a companion Website include case studies, additional self-assessment exercises, plus animations and special features that provide additional insight and fun facts on selected topics.
A Short History of Film, Second Edition, provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black-and-white stills—including many from recent films—the new edition is unmatched in its panoramic view, conveying a sense of cinema's sweep in the twentieth and early twenty-first centuries as it is practiced in the United States and around the world. Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of the industry in addition to updating the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium. The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer-generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s. Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts. Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.
With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work. The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production.
This book offers an interpretation of the handling of costume in the plays of the fifth-century comic poet Aristophanes. Drawing on both textual and material evidence from the fourth- and fifth-century Greek world, it examines three layers of costume: the bodysuit worn by the actors, the characters' clothes, and the additional layering of disguise. A chapter is also devoted to the inventive costumes of the comic chorus. Going beyond describing what costumes looked like, the book focuses instead on the dynamics of costume as it is manipulated by characters in the performance of plays. The book argues that costume is used competitively, as characters handle each other's costumes and poets vie for status using costume. This argument is informed by performance studies and by analyses of gender and the body.
The Life and Times of a Black Southern Doctor, or LATOBSD as it will be referred to from here on in this condensation, is a saga of life in the panhandle of Florida from 1896 to 1956 and a bit beyond. Doctor Alpha Omega Campbell was an actual practicing physician in and around Tallahassee between 1913 and 1956. In 1956, at the age of 67, A.O. Campbell was convicted of manslaughter in the death of a Jacksonville mother of two, after allegedly performing a criminal abortion that eventually results in her dying. On in years and eyeing semi-retirement, he is sent Floridas hardest prison for four of his remaining years. LATOBSD begins 1 years into the doctors incarceration at the time of his dear wifes funeral. Maggie Lou Campbell did not do well with her husband hundreds of miles away. She has been watching their empire of wealth and real estate crumble around her, spurred on by numerous jealous conspirators who position themselves like sharks around a school of hapless fish. It is from that point backward, I transport the reader back in time, before Maggie Lou was conceived by her multi-racial mother with the help of one of Leon Countys most respected grocers and back when Alfrey (A.O.) Campbells family was beholding to a deep-rooted plantation owner; some called it slavery in the post emancipation south. From this time forward, I undertake the task of fictionalizing a seemingly unmeasurable share of people and events. Most of this recounting of the doctors affairs is true to history, used as a guidepost for the seventy-some year story line. There are many people amongst the ensemble that closely resemble many of those that truly did exist, back when the delineation between black and white was beginning to show signs of gray. Yet as close as the Campbells pushed that line towards equality, a stronger force bludgeoned them back where they belonged. As tempting as it was to make this biographical, I could not. Case in point, the considerable liberty taken, especially as it applies to the more famous characters I have inserted in this moderately loosely-tied account of what really happened. If you think historical fiction is tough, staying true to events, multiply that by two and you have a biography; there will always be someone who says: That isnt the way it happened.. So as we traipse our way into the wonderful world of fiction. Consider this list of names and events (In order of their appearance): I. The Spanish-American War II. 25th President: William McKinley III. The Galveston Hurricane1900 IV. 26th President: Theodore Roosevelt V. George Eastman (sister Judith) VI. Suffragette: Emmeline Pankhurst VII. The San Francisco Earthquake1906 VIII. Playwright: Sir James Barrie IX. World War I X. Mary PickfordEarly Hollywood XI. The Pacific Clipper Flying BoatsPanAm XII. Roswell, New Mexico: Area 51 Whoowah Nellie. What does any of this have to do with a black Southern doctor you ask? That is what makes history fun, even if much of this stuff did not come down quite the way I write it. I promise to dedicate the 20th chapter to the process of sorting the beef from the bull; the inconsistencies you all will gladly point out while reading along as the decades peel away. The bottom line is that LATOBSD is not just about the doctor.
In The Art of Remembering art historian and curator Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present. She engages in the process of "rememory"—the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered. In analyses of the work of artists ranging from Scipio Moorhead, Moses Williams, and Aaron Douglas to Barbara Chase-Riboud, Kara Walker, Kehinde Wiley, and Deana Lawson, Shaw demonstrates that African American art and history may be remembered and understood anew through a process of intensive close looking, cultural and historical contextualization, and biographic recuperation or consideration. Shaw shows how embracing rememory expands the possibilities of history by acknowledging the existence of multiple forms of knowledge and ways of understanding an event or interpreting an object. In so doing, Shaw thinks beyond canonical interpretations of art and material and visual culture to imagine “what if,” asking what else did we once know that has been lost.
Troping the Body: Gender, Etiquette, and Performance is an interdisciplinary study of etiquette texts, conduct literature, and advice books and films. GwendolynAudrey Foster analyzes the work of such women authors as Emily Post, Christine de Pizan, Hannah Webster Foster, Emily Brontë, Frances E. W. Harper, and Martha Stewart as well as such women filmmakers as Lois Weber and Kasi Lemmons. "Specifically," Foster notes, "I was interested in the possibility of locating power and agency in the voices of popular etiquette writers." Her investigation led her to analyze etiquette and conduct literature from the Middle Ages to the present. Within this wide scope, she redefines the boundaries of conduct literature through a theoretical examination of the gendered body as it is positioned in conduct books, etiquette texts, poetry, fiction, and film. Drawing on Bakhtin, Gates, Foucault, and the new school of performative feminism to develop an interdisciplinary approach to conduct literature--and literature as conduct--Foster brings a unique perspective to the analysis of ways in which the body has been gendered, raced, and constructed in terms of class and sexuality. Even though women writers have been actively writing conduct and etiquette texts since the medieval period, few critical examinations of such literature exist in the fields of cultural studies and literary criticism. Thus, Foster's study fills a gap and does so uniquely in the existing literature. In examining these voices of authority over the body, Foster identifies the dialogic in the texts of this discipline that both supports and disrupts the hegemonic discourse of a gendered social order.
From the Reliance Building and Coney Island to the Kimbell Museum and Disney Hall, the United States has been at the forefront of modern architecture. American life has generated many of the quintessential images of modern life, both generic types and particular buildings. Gwendolyn Wright’s USA is an engaging account of this evolution from the late nineteenth century to the twenty-first. Upending conventional arguments about the origin of American modern architecture, Wright shows that it was not a mere offshoot of European modernism brought across the Atlantic Ocean by émigrés but rather an exciting, distinctive and mutable hybrid. USA traces a history that spans from early skyscrapers and suburbs in the aftermath of the American Civil War up to the museums, schools and ‘green architecture’ of today. Wright takes account of diverse interests that affected design, ranging from politicians and developers to ambitious immigrants and middle-class citizens. Famous and lesser-known buildings across America come together--model dwellings for German workers in rural Massachusetts, New York’s Rockefeller Center, Cincinnati’s Carew Tower, Frank Lloyd Wright’s Taliesin West in the Arizona desert, the University of Miami campus, the Texas Instruments Semiconductor Plant, and the Corning Museum of Glass, among others--to show an extraordinary range of innovation. Ultimately, Wright reframes the history of American architecture as one of constantly evolving and volatile sensibilities, engaged with commerce, attuned to new media, exploring multiple concepts of freedom. The chapters are organized to show how changes in work life, home life and public life affected architecture--and vice versa. This book provides essential background for contemporary debates about affordable and luxury housing, avant-garde experiments, local identities, inspiring infrastructure and sustainable design. A clear, concise and richly illustrated account of modern American architecture, this timely book will be essential for all those who wonder about the remarkable legacy of American modernity in its most potent cultural expression.
Black women filmmakers not only deserve an audience, Gwendolyn Audrey Foster asserts, but it is also imperative that their voices be heard as they struggle against Hollywood’s constructions of spectatorship, ownership, and the creative and distribution aspects of filmmaking. Foster provides a voice for Black and Asian women in the first detailed examination of the works of six contemporary Black and Asian women filmmakers. She also includes a detailed introduction and a chapter entitled "Other Voices," documenting the work of other Black and Asian filmmakers. Foster analyzes the key films of Zeinabu irene Davis, "one of a growing number of independent Black women filmmakers who are actively constructing [in the words of bell hooks] ‘an oppositional gaze’"; British filmmaker Ngozi Onwurah and Julie Dash, two filmmakers working with time and space; Pratibha Parmar, a Kenyan/Indian-born British Black filmmaker concerned with issues of representation, identity; cultural displacement, lesbianism, and racial identity; Trinh T. Minh-ha, a Vietnamese-born artist who revolutionized documentary filmmaking by displacing the "voyeuristic gaze of the ethnographic documentary filmmaker"; and Mira Nair, a Black Indian woman who concentrates on interracial identity.
Sitting just south of the nation's capital, Alexandria has a long and storied history." "Still, little is known of Alexandria's twentieth-century African American community. Experience the harrowing narratives of trials and triumph as Alexandria's African Americans helped to shape not only their hometown but also the world around them. Rutherford Adkins became one of the first black fighter pilots as a Tuskegee Airman. Samuel Tucker, a twenty-six-year-old lawyer, organized and fought for Alexandria to share its wealth of knowledge with the African American community by opening its libraries to all colors and creeds. Discover a vibrant past that, through this record, will be remembered forever as Alexandria's beacon of hope and light.
This Dictionary gives a comprehensive survey of the whole range of ancient Near Eastern architecture from the Neolithic round huts in Palestine to the giant temples of Ptolemaic Egypt. Gwendolyn Leick examines the development of the principal styles of ancient architecture within their geographical and historical context, and describes features of major sites such as Ur, Nineveh and Babylon, as well as many of the lesser-known sites. She also covers the variations of typical ancient architectural structures such as pyramids, tombs and houses, details the building material and techniques employed, and clarifies specialist terminology.
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Managing the transition of family wealth from generation to generation is a daunting task. Families with businesses require inheritance plans that are even more complicated because wealth and worth are often intricately woven into the business. And many transition plans focus only on financial capital and ignore a family’s less tangible assets. Other plans detail the intrinsic elements of an inheritance without satisfying the practical issues. In Family Wealth Transition Planning, Bonnie Brown Hartley and Gwendolyn Griffith guide advisers to families with small businesses through the intricate process of preparing and transferring wealth to heirs. The authors take a holistic view of transition planning, focusing on the assets that fall under the umbrella of financial capital, as well as the other key sources of family wealth: human and social capital. Advisers learn the essentials to achieving successful wealth continuity: Healthy family relationships Responsible stewardship of wealth, in all forms Creation and preservation of the family legacy Throughout the book, three fictionalized business families, based on Hartley's experience as an adviser, tell their personal stories as they navigate the estate planning process. In this way, Hartley and Griffith demonstrate how to develop wealth transition plans that are wide enough in scope to encompass all forms of wealth yet customized to manage each family's different needs.
When it’s exam time you need the right information in the right format to study efficiently and effectively. Emanuel® CrunchTime is the perfect tool for exam studying. With flowcharts and capsule summaries of major points of law and critical issues, as well as exam tips for identifying common traps and pitfalls, sample exam and essay questions with model answers – you will be prepared for your next big test. Here's why you will need Emanuel® CrunchTime to help you ace your exams: Perfect for the visual learner: The flow charts walk you through a series of yes/no questions that can be used to analyze any question on the exam. Featured capsule summaries help you quickly review key concepts not just before the exam, but throughout the semester Exams Tips recap the most commonly tested issues and fact patterns.
The most trusted name in law school outlines is now available in AspenLaw Studydesk digital eBook format. It's the best of both worlds - a print copy of the Emanuel Law Outline for your desk reference and an eBook version on your laptop to take with you wherever you go. This special Bonus Pack includes download access to the one-of-a-kind AspenLaw Studydesk software AND this book in digital eBook format. Emanuel Law Outlines for Basic Federal Income Tax will support your class preparation, provide reference for your outline creation, and supply a comprehensive breakdown of topic matter for your entire study process. the AspenLaw Studydesk eBook format will allow you to search the outline on your laptop and incorporate Legal Concepts into your studying with the click of a button. Created by Steven Emanuel, this series has been relied on by generations of law students. Each outline contains capsule and detailed versions of the critical issues and key topics you must know to master the course. Also included are exam questions with model answers, an alpha-list of cases, and a cross reference table of cases for all of the leading casebooks. BONUS PACK INCLUDES: Emanuel Law Outlines: Basic Federal Income Tax paperback Emanuel Law Outlines: Basic Federal Income Tax eBook download (NOTE: the AspenLaw Studydesk application must be installed on your computer to read the eBook.) AspenLaw Studydesk productivity software (NOTE: a promotion code ships with this Bonus Pack, which allows you to download the Emanuel Law Outlines: Basic Federal Income Tax eBook and AspenLaw Studydesk productivity software at www.AspenLaw.com). ASPENLAW STUDYDESK SYSTEM REQUIREMENTS: Memory: Minimum 512 megabytes (Mb), Recommended 1 gigabyte (Gb) or more. Disk Space: Minimum 280 megabytes (Mb), Recommended 1 gigabyte (Gb). Display: Minimum 800 x 600, 256 colors, Recommended 1024 x 768 high color (32-bit). Operating System (32-bit): Windows XP Service Pack 2, Windows Vista Home Basic, Premium, or Ultimate. VISTA Users: Once your AspenLaw Studydesk software is downloaded and installed, please ensure the application's privilege level is set to "Run this program as an Administrator." Refer to these step-by-step compatibility instructions for more information: http://www.aspenlaw.com/htmltemplates/sysrequirements/vistanotice.pdf MACINTOSH Users: AspenLaw Studydesk is not currently available for the Macintosh Operating System. However, you may use virtual machine software such as Parallels, VM Ware, or BootCamp, and the Windows OS to run the application on any Intel-powered Mac. Applications: Latest version of Adobe Reader for viewing PDF files. Latest version of Adobe Flash.
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