Coming-of-age comedy starring Steve Carell and Sam Rockwell. 14-year-old Duncan (Liam James) is forced to spend a summer at his mother (Toni Collette)'s new boyfriend Trent (Carell)'s beach house in upstate New York. Arrogant and a bully, Trent likes to belittle Duncan at any opportunity, leading the boy to take off on his bike to explore his new environment. It is then he comes across the Water Wizz water park and before long a friendship develops between Duncan and the park manager, Owen (Rockwell). Seeing the water park as the much needed escape he has been looking for, Duncan keeps his whereabouts a secret from the others and thanks to Owen's positive outlook and encouraging attitude begins to grow in confidence.

The Ku Klux Klan was reestablished in Atlanta in 1915, barely a week before the Atlanta premiere of The Birth of a Nation, D. W. Griffith's paean to the original Klan. While this link between Griffith's film and the Klan has been widely acknowledged, Tom Rice explores the little-known relationship between the Klan's success and its use of film and media in the interwar years when the image, function, and moral rectitude of the Klan was contested on the national stage. By examining rich archival materials including a series of films produced by the Klan and a wealth of documents, newspaper clippings, and manuals, Rice uncovers the fraught history of the Klan as a local force that manipulated the American film industry to extend its reach across the country. White Robes, Silver Screens highlights the ways in which the Klan used, produced, and protested against film in order to recruit members, generate publicity, and define its role within American society.

Films for the Colonies examines the British Government’s use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.

This book explores the colourful past, present and future of an instrument that is, quite literally, close to our hearts. The stethoscope has become the symbol of medicine itself, but how did this come to be? What makes the stethoscope such a familiar and yet charismatic object? Drawing from a range of fields including history, anthropology, science, technology and sound studies, the book illustrates the variety of roles the stethoscope has played over time. It shows that the stethoscope is not, and has never been, a single entity. It is used to a variety of ends, serves a number of purposes and is open to many interpretations. This is the key to the stethoscope's enduring presence in the medical and popular imagination.

Films for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.

An original ethnography of sound and listening in one of our major institutions, Hearing and the Hospital reveals the hospital to be a space in which several modes of listening are simultaneously in play and in which different layers of auditory knowledge and experience coexist. Engaging with Sound Studies, the Anthropology of the Senses, Medical Anthropology and Science and Technology Studies in this volume, Tom Rice shows how sound and listening produce, articulate and mediate social relations inside the hospital; how listening acquires direction and focus within that environment; and how certain sounds become endowed with particular meanings and associations. He also exposes many of the sensory minutiae that both underpin and undermine the production of medical knowledge and skill. Hearing and the Hospital creates an acoustic interrogation of hospital life, and in doing so questions accepted ideas about the sense of hearing itself. There's a great deal to admire in Tom Rice's ethnography of the aural politics of the hospital. First because it represents a unique conjunction of the ethnography of sound and senses with medical anthropology and social studies of science. Next because it patiently details how sound as a way of knowing so deeply informs social practices of medical listening. And finally because it is so successful in revealing both how hospitals and bodies pulse as acoustic spaces, and how patients and doctors professionalize, personalize, and participate as situated listeners.(Steven Feld, Distinguished Professor of Anthropology and Music, University of New Mexico). Tom Rice is Lecturer in Anthropology at the University of Exeter, and specializes in auditory culture. As well as writing and teaching on sound he has produced audio pieces including the BBC Radio 4 feature The Art of Water Music.

The Ku Klux Klan was reestablished in Atlanta in 1915, barely a week before the Atlanta premiere of The Birth of a Nation, D. W. Griffith's paean to the original Klan. While this link between Griffith's film and the Klan has been widely acknowledged, Tom Rice explores the little-known relationship between the Klan's success and its use of film and media in the interwar years when the image, function, and moral rectitude of the Klan was contested on the national stage. By examining rich archival materials including a series of films produced by the Klan and a wealth of documents, newspaper clippings, and manuals, Rice uncovers the fraught history of the Klan as a local force that manipulated the American film industry to extend its reach across the country. White Robes, Silver Screens highlights the ways in which the Klan used, produced, and protested against film in order to recruit members, generate publicity, and define its role within American society.