This volume closely examines the near-ubiquitous images of state security walls, domes, and other such defense enclosures flashing across movie screens since 2006, the year of the ratification of George W. Bush's Secure Fence Act. This study shows that many of the films of this era enable us to imaginatively test the effects of these security mechanisms on citizens, immigrants, refugees, and other sovereign states, challenging our commitment to constructing them, maintaining them, staffing them, and subsidizing their enormous overheads. With case studies ranging from Atomic Blonde and Ready Player One to Black Panther and Elysium; Walls without Cinema serves as a timely counterpoint to the xenophobic rhetoric and abusive, carceral security conditions that characterize the Trump administration's management of the Mexico-U.S. border situation.
"Walls without cinema: state security and subjective embodiment in twenty-first century U.S. filmmaking closely examines the near-ubiquitous images of state security walls, domes, and other such defense enclosures flashing across movie screens since 2006, the year of the ratification of George W. Bush's Secure Fence Act. This study shows that many of the films of this era enable us to imaginatively test the effects of these security mechanisms on citizens, immigrants, refugees, and other sovereign states, challenging our commitment to constructing them, maintaining them, staffing them, and subsidizing their enormous overheads. With case studies ranging from Atomic Blonde and Ready Player One to Black Panther and Elysium, Walls without Cinema serves a timely counterpoint to the xenophobic rhetoric and abusive, carceral security conditions that characterize the Trump administration's management of the Mexico-U.S. border situation"--
Corrigan argues that in the past 25 years the increased conglomerization of film production/distribution companies and the rise of VCR, satellite, and cable television technologies have altered the way films are made and how we view them. The result is a growing internationalization of national cinema cultures and an increasing fragmentation of the audience. Video has reduced the movie to private and domestic performance. At the same time, audiences are bombarded with a surfeit of images that leaves them with a battered sense of their place in history and culture. Corrigan notes that, combined with what many critics have recognized as the growing incoherence in film texts, these facts make it more meaningful to discuss films not as texts but as multiple cultural and commercial processes constructed by increasingly specialized audiences. ISBN 0-8135-1667-6: $36.00.
For most people, home is a place with four walls. It's a place to eat, sleep, rest, and live. For a refugee, the concept of home is ever-changing, ever-moving, ever-wavering. And often, it doesn't have any walls at all. Eleven-year-old Lam escapes from Vietnam with Dee Dee during the Vietnamese Boat People Exodus in 1979, when people from Vietnam, Laos, and Cambodia fled their homelands for safety. For a refugee, the trip is a long and perilous one, filled with dangerous encounters with pirates and greedy sailors, a lack of food and water, and even the stench of a dead body onboard. When they finally arrive at a refugee camp, Lam befriends Dao, a girl her age who becomes like a sister-a welcome glimmer of happiness after a terrifying journey. Readers will feel as close to Lam as the jade pendant she wears around her neck, sticking by her side throughout her journey as she experiences fear, crushing loss, boredom, and some small moments of joy along the way. Written in verse, this is a heartfelt story that is sure to build empathy and compassion for refugees around the world escaping oppression.
In Church Without Walls, prominent author Jim Petersen offers an exciting definition of the church that pushes beyond the too-small boundaries we've inherited from the past. This book explores why some church forms impede the gospel in today's postmodern world.
The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.
There is a part of each of us that is a monk or a mystic. We yearn for perfect peace yet live our lives far removed from traditional monasteriesyet most of us would not want to give up our personal and spiritual freedom to join monastic life. We seek wholeness but realize that wholeness is not possible without sacredness. Sacred life takes root in solitude, in the time we take to develop a relationship with our inner lifein the kind of setting a monastery would offer. This book speaks to the monk or mystic within us. It affirms our place in the sacred silence of solitude and inner reflection, showing how even everyday life is filled with opportunities to live fully in the worldas if it were a holy monastery. Here we learn to live within the limits as well as the spirit of everyday life, how to appreciate our most human self as the path to explore the divine. Here we encounter a world that is clearly available to us, a world filled with nothing less than the gift of sacred silence within the monastery without walls.
A Southern Living Best New Book of Winter 2019; A Refinery29 Best Book of January 2019; A Most Anticipated Book of 2019 at The Week, Huffington Post, Nylon, and Lit Hub; An Indie Next Pick for January 2019 “Ghost Wall has subtlety, wit, and the force of a rock to the head: an instant classic.” —Emma Donoghue, author of Room "A worthy match for 3 a.m. disquiet, a book that evoked existential dread, but contained it, beautifully, like a shipwreck in a bottle.” —Margaret Talbot, The New Yorker A taut, gripping tale of a young woman and an Iron Age reenactment trip that unearths frightening behavior The light blinds you; there’s a lot you miss by gathering at the fireside. In the north of England, far from the intrusions of cities but not far from civilization, Silvie and her family are living as if they are ancient Britons, surviving by the tools and knowledge of the Iron Age. For two weeks, the length of her father’s vacation, they join an anthropology course set to reenact life in simpler times. They are surrounded by forests of birch and rowan; they make stew from foraged roots and hunted rabbit. The students are fulfilling their coursework; Silvie’s father is fulfilling his lifelong obsession. He has raised her on stories of early man, taken her to witness rare artifacts, recounted time and again their rituals and beliefs—particularly their sacrifices to the bog. Mixing with the students, Silvie begins to see, hear, and imagine another kind of life, one that might include going to university, traveling beyond England, choosing her own clothes and food, speaking her mind. The ancient Britons built ghost walls to ward off enemy invaders, rude barricades of stakes topped with ancestral skulls. When the group builds one of their own, they find a spiritual connection to the past. What comes next but human sacrifice? A story at once mythic and strikingly timely, Sarah Moss’s Ghost Wall urges us to wonder how far we have come from the “primitive minds” of our ancestors.
Thinking about ultimate reality is becoming increasingly transreligious. This transreligious turn follows inevitably from the discovery of divine truths in multiple traditions. Global communications bring the full range of religious ideas and practices to anyone with access to the internet. Moreover, the growth of the nones and those who describe themselves as spiritual but not religious creates a pressing need for theological thinking not bound by prescribed doctrines and fixed rituals. This book responds to this vital need. The chapters in this volume each examine the claim that if the aim of theology is to know and articulate all we can about the divine reality, and if revelations, enlightenments, and insights into that reality are not limited to a single tradition, then what is called for is a theology without confessional restrictions. In other words, a Theology Without Walls. To ground the project in examples, the volume provides emerging models of transreligious inquiry. It also includes sympathetic critics who raise valid concerns that such a theology must face. This is a book that will be of urgent interest to theologians, religious studies scholars, and philosophers of religion. It will be especially suitable for those interested in comparative theology, inter-religious and interfaith understanding, new trends in constructive theology, normative religious studies, and global philosophy of religion.
A House Without Walls is a powerful story of family, hope and redemption amidst the refugee crisis in Syria from the award-winning Elizabeth Laird, illustrated by Lucy Eldridge. Thirteen-year-old Safiya and her family have been driven out of Syria by civil war. Safiya knows how lucky she is – lucky not to be living in a refugee camp, lucky to be alive. But it's hard to feel grateful when she's forced to look after her father and brother rather than go back to school, and now that she's lost her home, she's lonelier than ever. As they struggle to rebuild their lives, Safiya realizes that her family has always been incomplete and with her own future in the balance, it's time to uncover the secrets that war has kept buried.
