Aisling is twenty-eight and she's a complete ... Aisling. She lives at home in Ballygobbard (or Ballygobackwards, as some gas tickets call it) with her parents and commutes to her good job at PensionsPlus in Dublin. Aisling goes out every Saturday night with her best friend Majella, who is a bit of a hames (she's lost two phones already this year – Aisling has never lost a phone). They love hoofing into the Coors Light if they're 'Out', or the vodka and Diet Cokes if they re 'Out Out'. Ais spends two nights a week at her boyfriend John's. He's from down home and was kiss number seventeen at her twenty-first. But Aisling wants more. She wants the ring on her finger. She wants the hen with the willy straws. She wants out of her parents' house, although she'd miss Mammy turning on the electric blanket like clockwork and Daddy taking her car 'out for a spin' and bringing it back full of petrol. When a week in Tenerife with John doesn't end with the expected engagement, Aisling calls a halt to things and soon she has surprised herself and everyone else by agreeing to move into a three-bed in Portobello with stylish Sadhbh from HR and her friend, the mysterious Elaine. Newly single and relocated to the big city, life is about to change utterly for this wonderful, strong, surprising and funny girl, who just happens to be a complete Aisling.
All Mr. Jackson ever wanted was his very own lady. Someone who made him feel safe and loved. By a surprise trip, Mr. Jackson looks like he just may have found what he's been searching for.
Einmal Aisling, immer Aisling! So schnell kann's gehen: Gerade noch hatte Aisling eine coole Wohnung, einen sicheren Job und eine feste Beziehung, da schlägt das Schicksal gleich mehrfach zu: Nicht nur, dass sie sich wegen der LGBTQ-Hochzeit ihrer Mitbewohnerin Elaine eine neue Wohnung suchen muss – die arme Aisling wird auch noch gefeuert. Und ihre gerade wieder aufgeflammte Beziehung zu John fühlt sich irgendwie ... nun ja, eben langweilig an. Es ist Zeit, das Leben in neue Bahnen zu lenken! Kurzerhand zieht Aisling zurück nach Ballygobbard, um ein Brunchcafé zu eröffnen. Doch ihr Versuch, das urbane Leben aufs Land zu bringen und nebenbei noch ihr Glück zu finden, birgt mehr Stolpersteine, als sie je geahnt hätte.
What's a girl to do when she has not one but two weddings on the same weekend? Not that either of them are Aisling's - she's only just got together with the dishy James Matthews and there's plenty of time before she has to even think about her own wedding bells. But Aisling's fledgling brunch business is set to cater for one of the weddings, and she's promised to be Maid of Honour at the other, her best friend's big day. And she's not just being pulled between work and friendship - she's also contending with the revelation that James is practically aristocracy, and her old flame John arriving back on the scene . . .
Transatlantic Crossings is the first major study of the distribution and exhibition of British films in the USA. Charting the cross-cultural reception of many British films, Sarah Street draws on a wide range of sources including studio records, film posters, press books and statistics. While the relative strength of Hollywood made it difficult for films that crossed the Atlantic, StreetÆs research demonstrates that some strategies were more successful than others. She considers which British films made an impact and analyzes conditions that facilitated a positive reception from critics, censors, exhibitors and audiences.Case studies include Nell Gwyn (1926), The Private Life of Henry VIII (1933), The Ghost Goes West (1935), Henry V (1946), Black Narcissus (1947), The Red Shoes (1948), Ealing comedies, The Horror of Dracula (1958), Tom Jones (1963), A Hard DayÆs Night (1964), Goldfinger (1964), The Remains of the Day (1993), Four Weddings and a Funeral (1994) and Trainspotting (1996).Against a background of the economic history of the British and Hollywood film industries, Transatlantic Crossings considers the many fascinating questions surrounding the history of British films in the USA, their relevance to wider issues of Anglo-American relations and to notions of "Britishness" on screen.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Wonder women, G.I. Janes, and vampire slayers increasingly populate the American cultural landscape. What do these figures mean in the American cultural imagination? What can they tell us about the female body in action or in pain? Reel Vulnerability explores the way American popular culture thinks about vulnerability, arguing that our culture and our scholarship remain stubbornly invested in the myth of the helplessness of the female body. The book examines the shifting constructions of vulnerability in the wake of the cultural upheavals of World War II, the Cold War, and 9/11, placing defenseless male bodies onscreen alongside representations of the female body in the military, in the interrogation room, and on the margins. Sarah Hagelin challenges the ways film theory and cultural studies confuse vulnerability and femaleness. Such films as G.I. Jane and Saving Private Ryan, as well as such post-9/11 television shows as Battlestar Galactica and Deadwood, present vulnerable men who demand our sympathy, abused women who don’t want our pity, and images of the body in pain that do not portray weakness. Hagelin’s intent is to help scholarship catch up to the new iconographies emerging in theaters and in living rooms—images that offer viewers reactions to the suffering body beyond pity, identification with the bleeding body beyond masochism, and feminist images of the female body where we least expect to find them.
Elizabeth Woodville, queen to Edward IV and mother of the Princes in the Tower. Elizabeth of York, daughter of Elizabeth Woodville and the first Tudor queen of England. Elizabeth Grey, granddaughter of Elizabeth Woodville and Countess of Kildare, whose life both in England and across the Irish sea was closely entwined with the Tudor Court. This is the tale of three generations of women, linked by their name, Elizabeth, and by their family relationship. The story begins in the reign of the great Plantagenet Kings with the life of Elizabeth Woodville and ends in the reign of perhaps England’s most famous dynasty, that of the Tudor kings and queens. Through the life of Elizabeth of York, the first Tudor queen and Elizabeth Grey, cousin to Henry VIII and Mary Tudor, we explore the Tudor court and its dealings with the Earls of Kildare. From the birth of our first Elizabeth to the death of our last, these three women lived through wars and coronations, births and deaths, celebration and tragedy and between them they experienced some of the most exciting and troubled times in English history. Mother, daughter and granddaughter: individually they each have their own fascinating story to tell; together their combined stories take us on a journey through a century of English life.
Black Narcissus", now heralded as a masterpiece, is a landmark film in the influential canon of Michael Powell and Emeric Pressburger. With the centenary of Powell's birth in 2005 this timely book - the first dedicated exclusively to the film - draws on archival documents, original set drawings and stills to demonstrate its remarkable achievements, both as a production and as a vehicle for ideas. Looking at the film's enduring images of both place and gender, Sarah Street also examines "Black Narcissus" as a masterly technical accomplishment - with cinematographer Jack Cardiff's experiments in Technicolor just one of its many advances - as well as a meditation on the end of empire. Looking too at the film's controversial reception by international critics and censors, and its subsequent impact on experimental filmmakers, Street explores issues of technique, style, performance and interpretation to reveal the continued relevance of "Black Narcissus" today.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.