Now that Brianna's on the train to Mommy-ville, her sisters are determined to curb some of her less maternal habits. All trips to the plasma rifle range, antimatter cannon ammo experiments, and high-G aero-mech joy rides are out until the baby's born! It's a strange case of "taming of the shrew" as Gina and Britanny take Brianna from grenade pins and gunpowder to safety pins and talcum powder!
Gender Hate Online addresses the dynamic nature of misogyny: how it travels, what technological and cultural affordances support or obstruct this and what impact reappropriated expressions of misogyny have in other cultures. It adds significantly to an emergent body of scholarship on this topic by bringing together a variety of theoretical approaches, while also including reflections on the past, present, and future of feminism and its interconnections with technologies and media. It also addresses the fact that most work on this area has been focused on the Global North, by including perspectives from Pakistan, India and Russia as well as intersectional and transcultural analyses. Finally, it addresses ways in which women fight back and reclaim online spaces, offering practical applications as well as critical analyses. This edited collection therefore addresses a substantial gap in scholarship by bringing together a body of work exclusively devoted to this topic. With perspectives from a variety of disciplines and geographic bases, the volume will be of major interest to scholars and students in the fields of gender, new media and hate speech.
Winnie Lightner (1899–1971) stood out as the first great female comedian of the talkies. Blessed with a superb singing voice and a gift for making wisecracks and rubber faces, she rose to stardom in vaudeville and on Broadway. Then, at the dawn of the sound era, she became the first person in motion picture history to have her spoken words, the lyrics to a song, censored. In Winnie Lightner: Tomboy of the Talkies, David L. Lightner shows how Winnie Lightner's hilarious performance in the 1929 musical comedy Gold Diggers of Broadway made her an overnight sensation. She went on to star in seven other Warner Bros. features. In the best of them, she was the comic epitome of a strident feminist, dominating men and gleefully spurning conventional gender norms and moral values. So tough was she, the studio billed her as “the tomboy of the talkies.” When the Great Depression rendered moviegoers hostile toward feminism, Warner Bros. tried to craft a new image of her as glamorous and sexy. Executives assigned her contradictory roles in which she was empowered in the workplace but submissive to her male partner at home. The new persona flopped at the box office, and Lightner's stardom ended. In four final movies, she played supporting roles as the loudmouthed roommate and best friend of actresses Loretta Young, Joan Crawford, and Mona Barrie. Following her retirement in 1934, Lightner faded into obscurity. Many of her films were damaged or even lost entirely. At long last, this biography gives Winnie Lightner the recognition she deserves as a notable figure in film history, in women's history, and in the history of show business.
From 1913 through 1918, Long Beach, California, was home to the largest independent film company in the world, the largely forgotten Balboa Studio. Founder Herbert M. Horkheimer bought the studio from Edison Company in 1913, and by 1915 Balboa's expenses exceeded $2,500 a day and its output hit 15,500 feet of film per week. Bert Bracken, Fatty Arbuckle, Henry King, Baby Marie Osborne, Thomas Ince, and William Desmond Taylor began their careers with the studio. In 1918, Horkheimer stunned the industry by declaring bankruptcy, shutting down Balboa, and walking away from moviemaking. The closing of the studio effectively ended Long Beach's runs as a major film location and left many wondering about the true reasons behind Horkheimer's decision. Most of Balboa's films have been lost, and little has until now been written about the studio. This book first explores the history of filmmaking in Long Beach and then fully details the story of Balboa. The extensive filmography includes length, copyright date when available, cast and credits, and a plot summary.
Originally published in England in 1935, this book is an attempt to isolate the fundamental principles of film art and to teach in concrete detail how these principles are well or badly applied in the production of films. This essential task, shirked or derided by most film critics today, Spottiswoode executed with skill and perception. He traced the history of the new medium, analyzed the aesthetic factors governing proper use of camera angle and movement, cuts, dissolves, sound, and other elements of film construction. He also examined the proces by which films produce their special effects upon audiences. A Grammar of the Film contains some predictions that history has belied, and as the author remarks in his preface, parts of it abound in distinctions without differences. Yet its analytic perspective remains sound and useful, because the passage of years has brought little significant experimentation and little change in the basic aesthetic problems of the medium. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1950.
Samuel Thomas Gill, or STG as he was universally known, was Australia’s most significant and popular artist of the mid-nineteenth century. For his contemporaries he epitomised ‘Marvellous Melbourne’ basking in the glow of the gold rushes. He worked in South Australia, Victoria and New South Wales and left some of the most memorable images of urban and rural life in colonial Australia. A passionate defender of Indigenous Australians and of the environment, Gill in his art celebrated the emerging quintessential Australian character. This is the first major comprehensive book to be devoted to Gill and presents a radical reassessment of one of the most important figures in Australian colonial art and reproduces, in some instances for the first time, some of the most startling images from nineteenth-century Australian art. There will be an exhibition of S.T. Gill’s work at the State Library of Victoria in July 2015 and at the National Library of Australia in June 2016, plus smaller shows in regional Victorian galleries. In association with the State Library of Victoria.
"Information presented regarding birth, death, film credits and analyzes each player's unique talents, signature roles and career development. Representative range of backgrounds, character types and career experiences including actresses such as Agnes Moorehead, Thelma Ritter, Beulah Bondi, Sara Allgood, and Jessie Ralph, among others. A fascinating tour through Hollywood's big studio era and the lives of its characters"--Provided by publisher.
