Thelma and Louise meets The First Wives Club in this fun and flirtatious comedy. Divorcées Mary and Jo are suspicious of their friend Liz’s new dentist boyfriend. He’s not just a weirdo; he may be a serial killer! After all, his hygienist just disappeared. Trading their wine glasses for spy glasses, imaginations run wild as the ladies try to discover the truth and save their friend in a hilarious off-road adventure.
This report was presented at the European Conference on Preventing and Combating Trafficking in Human Beings, held in Belgium in September 2002. It finds that, despite the growing concern about the trafficking of women and children in Europe, information on its scale and the most effective means to counter it remains limited. A number of priorities for further research are identified, including the structure and methods used by criminal groups, on state compliance with relevant international law, and an evaluation of the effectiveness of counter-trafficking initiatives.
Women's Film and Female Experience takes a fresh look at a wide range of popular women's films in order to discover what American female consciousness in the 1940s was really about. The author traces the evolution and development of the Hollywood women's film, and describes the social history of American women in the 1940s. She then analyzes dominant narrative patterns within popular women's films of the decade: the maternal drama, the career woman comedy, and the films of suspicion and distrust.
Film Genre for the Screenwriter is a practical study of how classic film genre components can be used in the construction of a screenplay. Based on Jule Selbo’s popular course, this accessible guide includes an examination of the historical origins of specific film genres, how and why these genres are received and appreciated by film-going audiences, and how the student and professional screenwriter alike can use the knowledge of film genre components in the ideation and execution of a screenplay. Explaining the defining elements, characteristics and tropes of genres from romantic comedy to slasher horror, and using examples from classic films like Casablanca alongside recent blockbuster franchises like Harry Potter, Selbo offers a compelling and readable analysis of film genre in its written form. The book also offers case studies, talking points and exercises to make its content approachable and applicable to readers and writers across the creative field.
Murder fascinates readers, and when a woman murders, that fascination is compounded. The paradox of mother, lover, or wife as killer fills us with shock. A woman's violence is unexpected, unacceptable. Yet killing an abusive man can make her a cultural heroine. In Double Jeopardy, Virginia Morris examines the complex roots of contemporary attitudes toward women who kill by providing a new perspective on violent women in Victorian literature. British novelists from Dickens to Hardy, in their characterizations, contradicted the traditional Western assumption that women criminals were "unnatural." The strongest evidence of their view is that the novelists make the women's victims deserve their violent death. Yet the women characters who commit murder are punished because their sympathetic Victorian creators had internalized the cultural biases that expected women to be passive and subservient. Fictional women, like their real-life counterparts, were doubly guilty: in defying the law, they also defied their gender role. Because they were "unwomanly," they were thought worse than male criminals—more vicious and more incorrigible. At the same time, they often got special treatment from the police and the courts simply because they were women. These contradictory attitudes reveal the critical significance of gender in defining criminal behavior and in fixing punishments. Morris provides literary and historical background for the novelists' ideas about women killers and traces the evolving notion that abused or misused women were capable of using justifiable—if unforgivable—violence. She argues that the criminal women in Victorian literature epitomize the ambivalent position of women generally and the particular vulnerability of a deviant minority. Her book is a valuable resource for readers concerned with criminology, literature, and feminist studies.
Author: United States. Congress. House. Committee on Science and Technology. Subcommittee on Domestic and International Scientific Planning, Analysis, and Cooperation
A 2017 Choice Outstanding Academic Title Intersectionality intervenes in the field of intersectionality studies: the integrative examination of the effects of racial, gendered, and class power on people’s lives. While “intersectionality” circulates as a buzzword, Anna Carastathis joins other critical voices to urge a more careful reading. Challenging the narratives of arrival that surround it, Carastathis argues that intersectionality is a horizon, illuminating ways of thinking that have yet to be realized; consequently, calls to “go beyond” intersectionality are premature. A provisional interpretation of intersectionality can disorient habits of essentialism, categorial purity, and prototypicality and overcome dynamics of segregation and subordination in political movements. Through a close reading of critical race theorist Kimberlé Williams Crenshaw’s germinal texts, published more than twenty-five years ago, Carastathis urges analytic clarity, contextual rigor, and a politicized, historicized understanding of this widely traveling concept. Intersectionality’s roots in social justice movements and critical intellectual projects—specifically Black feminism—must be retraced and synthesized with a decolonial analysis so its radical potential to actualize coalitions can be enacted.
