Fertile Visions conceptualises the uterus as a narrative space so that the female reproductive body can be understood beyond the constraints of a gendered analysis. Unravelling pregnancy from notions of maternity and mothering demands that we think differently about narratives of reproduction. This is crucial in the current global political climate wherein the gender-specificity of pregnancy contributes to how bodies that reproduce are marginalised, controlled, and criminalised. Anne Carruthers demonstrates fascinating and insightful close analyses of films such as Juno, Birth, Ixcanul and Arrival as examples of the uterus as a narrative space. Fertile Visions engages with research on the foetal ultrasound scan as well as phenomenologies, affect and spectatorship in film studies to offer a new way to look, think and analyse pregnancy and the pregnant body in cinema from the Americas.

Twenty Years at Hull House, by the acclaimed memoir of social reformer Jane Addams, is presented here complete with all sixty-three of the original illustrations and the biographical notes. A landmark autobiography in terms of opening the eyes of Americans to the plight of the industrial revolution, Twenty Years at Hull House has been applauded for its unflinching descriptions of the poverty and degradation of the era. Jane Addams also details the grave ill-health she suffered during and after her childhood, giving the reader insight into the adversity which she would re-purpose into a drive to alleviate the suffering of others. The process by which Addams founded Hull House in Chicago is detailed; the sheer scale and severity of the poverty in the city she and others witnessed, the search for the perfect location, and the numerous difficulties she and her fellow activists encountered while establishing and maintaining the house are detailed.

Examines the role that parenting, as a theme and practice, plays in film and media cultures. Mothers of Invention: Film, Media, and Caregiving Labor constructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches-including textual analysis, industry studies, ethnographic research, production histories, and personal reflection-Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach-from the films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and A Deal with the Universe (Jason Barker, 2018) to the television series Top of the Lake(2013-2017) and Jane the Virgin (2014-2019), among others-as well as discussion of the creative practices, be they related to production, pedagogy, curation, or critique, employed by a wide variety of film and media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline to expand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.

A study of the impact of sexism on black women during slavery, the historic devaluation of black womanhood, sexism among black men, racism within the women's movement and the black woman's involvement with feminism. Hooks refutes the antifeminist claim that black women have no need for an autonomous women's movement. She pushes feminist dialogue to new limits by claiming that all progressive struggles are significant only when they take place within a broadly defined feminist movement which takes as its starting point the immutable facts of race, class and gender.