A funny, fully-illustrated guide to the thorny world of modern dating. Tired of Tinder? Bummed out by Bumble? Given up on Grindr? The world of online dating has brought with it a whole host of new pitfalls in finding 'the one'. Lucy Baker is here to save the day, and Swipe Left is your ultimate guide to the do's and don'ts of digital dating. See what makes a perfect profile, and a sexy (not sexist) selfie. Fix first date disasters and get over ghosting. This little book is everything you need to transform those swipes from left to right.

Although it is recognised that body image is significant to understanding fundamental issues of ageing and identity, research pertaining to older adults' body image is scarce, and there is no specific measure with which to assess body image satisfaction among older adults. In this book, we describe a progressive five-stage research project conducted to address this issue, beginning with the formulation of a novel multidimensional integrative model of body image and the subsequent development and validation of a quantitative scale to assess body image satisfaction in older adulthood. The newly developed Body Image Scale for Older Adults (BIS-OA) provides a tool to further the understanding of older adults' body image and its relationship with other variables related to one's quality of life. This, in turn, can inform policy-makers and professionals working with older adults to assist in the formulation of preventative as well as therapeutic interventions to help older adults develop a positive body image and enhance their quality of life.

This book focuses on how the abject spectacle of the 'monstrous feminine' has been reimagined by recent and contemporary screen horrors focused on the desires and subjectivities of female monsters who, as anti-heroic protagonists of revisionist and reflexive texts, exemplify gendered possibility in altered cultures of 21st century screen production and reception. As Barbara Creed notes in a recent interview, the patriarchal stereotype of horror that she named 'the monstrous-feminine' has, decades later, 'embarked on a life of her own'. Focused on this altered and renewed form of female monstrosity, this study engages with an international array of recent and contemporary screen entertainments, from arthouse and indie horror films by emergent female auteurs, to the franchised products of multimedia conglomerates, to 'quality' television horror, to the social media-based creations of horror fans working as 'pro-sumers'. In this way, the monograph in its organisation and scope maps the converged and rapidly changing environment of 21st century screen cultures in order to situate the monstrous female anti-hero as one of its distinctive products.