The greatest conversation in the history of Hollywood.

From the archives of the American Film Institute comes a unique picture of what it was like to work in Hollywood from its beginnings to its present day. Hollywood: The Oral History, lets a reader ‘listen in’ on candid remarks from the biggest names in front of the camera – Bette Davis, Meryl Streep, Tom Hanks, Jane Fonda, Harold Lloyd – the biggest behind it – Frank Capra, Steven Spielberg, Alfred Hitchcock, Jordan Peele, as well as the musicians, writers, sound men, editors, make-up artists, and even script timers, messengers, and publicists who shaped what was heard and seen on screen.

Legendary film scholar Jeanine Basinger and New York Times bestselling author Sam Wasson have undertaken the monumental task of weaving these thousands of hours of talk into a conversation that is lively, funny, insightful, historically accurate and authentically honest in its portrait of workaday Hollywood.

"Hearths of Darkness: The Family in the American Horror Film" traces the origins of the 1970s family horror subgenre to certain aspects of American culture and classical Hollywood cinema. Far from being an ephemeral and short-lived genre, horror actually relates to many facets of American history from its beginnings to the present day. Individual chapters examine aspects of the genre, its roots in the Universal horror films of the 1930s, the Val Lewton RKO unit of the 1940s, and the crucial role of Alfred Hitchcock as the father of the modern American horror film.

Subsequent chapters investigate the key works of the 1970s by directors such as Larry Cohen, George A. Romero, Brian De Palma, Wes Craven, and Tobe Hooper, revealing the distinctive nature of films such as "Bone, It's Alive, God Told Me, Carrie, The Exorcist, Exorcist 2, The Texas Chainsaw Massacre," as well as the contributions of such writers as Stephen King. Williams also studies the slasher films of the 1980s and 1990s, such as the Friday the 13th series, "Halloween," the remake of "The Texas Chainsaw Massacre," and "Nightmare on Elm Street," exploring their failure to improve on the radical achievements of the films of the 1970s.

After covering some post-1970s films, such as "The Shining," the book concludes with a new postscript examining neglected films of the twentieth and early twenty-first century. Despite the overall decline in the American horror film, Williams determines that, far from being dead, the family horror film is still with us. Elements of family horror even appear in modern television series such as "The Sopranos." This updated edition also includes a new introduction.

Traumagenic events-episodes that have caused or are likely to cause trauma-color the experiences of K-12 students and the social studies curriculum they encounter in U.S. schools. At the same time that the global COVID-19 pandemic has heightened educators' awareness of collective trauma, the racial reckoning of 2020 has drawn important attention to historical and transgenerational trauma. At a time when social studies educators can simply no longer ignore "difficult" knowledge, instruction that acknowledges trauma in social studies classrooms is essential. Through employing relational pedagogies and foregrounding voices that are too often silenced, the lessons in Hollywood or History? An Inquiry-Based Strategy for Using Film to Acknowledge Trauma in Social Studies engage students in examining the role of traumatic or traumagenic events in social studies curriculum. The 20 Hollywood or History? lessons are organized by themes such as political trauma and war and genocide. Each lesson presents film clips, instructional strategies, and primary and secondary sources targeted to the identified K-12 grade levels. As a collection, they provide ready-to-teach resources that are perfect for teachers who are committed to acknowledging trauma in their social studies instruction.

In the context of changing constructs of home and of childhood since the mid-twentieth century, this book examines discourses of home and homeland in Irish children's fiction from 1990 to 2012, a time of dramatic change in Ireland spanning the rise and fall of the Celtic Tiger and of unprecedented growth in Irish children's literature. Close readings of selected texts by five award-winning authors are linked to social, intellectual and political changes in the period covered and draw on postcolonial, feminist, cultural and children's literature theory, highlighting the political and ideological dimensions of home and the value of children's literature as a lens through which to view culture and society as well as an imaginative space where young people can engage with complex ideas relevant to their lives and the world in which they live. Examining the works of O. R. Melling, Kate Thompson, Eoin Colfer, Siobhan Parkinson and Siobhan Dowd, Ciara Ni Bhroin argues that Irish children's literature changed at this time from being a vehicle that largely promoted hegemonic ideologies of home in post-independence Ireland to a site of resistance to complacent notions of home in Celtic Tiger Ireland.

Despite the widely publicised prejudice faced by women in Hollywood, since around 1990 a significant minority of female directors have been making commercially and culturally impactful films there across the full range of genres. This book explores movies by filmmakers Amy Heckerling, Nora Ephron, Nancy Meyers, Catherine Hardwicke, Sofia Coppola, Kimberly Peirce, Kathryn Bigelow and Greta Gerwig, including many which are still critically neglected or derided, seeing them as offering a new understanding of genre filmmaking. That is, like many other contemporary films but in a striking proportion within the smaller set of mainstream movies by women, this body of work revels in a heightened genre status that allows its authors to simultaneously address 'intellectual' cinephilic pleasures and bodily-emotive ones. Arguing through close analysis that these films demonstrate the inseparability of such strategies of engagement in contemporary genre cinema, Heightened Genre reclaims women's mainstream filmmaking for feminism through a recalibration of genre theory itself.

During the 2010s in Turkey, LGBTQ activists, groups, and individuals persisted against social, political, and legal adversity. Erasure during the Gezi Park Protests in 2013, a Pride parade ban in Istanbul in 2016, and indefinite ban on all LGBTQ events in Ankara in 2017 directly aimed at ending the activities, visibility, and existence of LGBTQ organization in the two biggest cities in Turkey. This work examines the ways in which LGBTQ activists engaged in talkback against these restrictions that impacted the lives of LGBTQ individuals and how said individuals endured such adversity. Focusing on the elements of discourse used by LGBTQ activists, this work argues oppositional discourses need to address as well as remedy the various elements of normative discourses-constructions of space, time, and affect-in order to be deemed a talkback, instead of merely perpetuating the normativities of oppressive discourses.