Griffith and Smith explore the innumerable, hidden, seemingly mundane tasks like getting kids ready for school, helping with homework, or serving on the PTA can all have profound effects on what occurs within school. Based on longitudinal interviews with mothers of school-age children, this book exposes the effects mothers' work has on educational systems as a whole and the ways in which inequalities of educational opportunities are reproduced.

This book looks at the relationship between the work women do with and for their children in relation to schooling. The authors break their analysis down by class lines, examining the ways in which women's economic positions further affects the experiences their children have. While many books have looked at the relationship between class differences and schooling itself, Smith and Griffith's work stands apart in its examination of the hidden gendered labor behind the scenes of school success and failure. Based on longitudinal interviews with mothers of school-age children, this book exposes the effects mothers' work has on educational systems as a whole and the ways in which inequalities of educational opportunities are reproduced. Ultimately, the authors argue that mothering work will only intensify as resources are withdrawn from schools and as governments shift much of the work of teaching and learning to families.

A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposes of the 1920s.She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film's psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media's sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public's understanding of the modern prison.

A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposes of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film's psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media's sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public's understanding of the modern prison.

From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking. What unites and defines many of these wondrous spaces is an immersive view-an invitation to step inside the virtual world of the image and become a part of its universe, if only for a short time.

Since their inception, museums of science and natural history have mixed education and entertainment, often to incredible, eye-opening effect. Immersive spaces of visual display and modes of exhibition send "shivers" down our spines, engaging the distinct cognitive and embodied mapping skills we bring to spectacular architecture and illusionistic media. They also force us to reconsider traditional models of film spectatorship in the context of a mobile and interactive spectator.

Through a series of detailed historical case studies, Alison Griffiths masterfully explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising antecedents of modern media forms, suggesting the spectator's deep-seated desire to become immersed in a virtual world. "Shivers Down Your Spine" demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives haveredefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more.

The ethical and ideological implications of cross-cultural image-making continue to stir debate among anthropologists, film scholars, and museum professionals. This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.

From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking. What unites and defines many of these wondrous spaces is an immersive view-an invitation to step inside the virtual world of the image and become a part of its universe, if only for a short time. Since their inception, museums of science and natural history have mixed education and entertainment, often to incredible, eye-opening effect. Immersive spaces of visual display and modes of exhibition send "shivers" down our spines, engaging the distinct cognitive and embodied mapping skills we bring to spectacular architecture and illusionistic media. They also force us to reconsider traditional models of film spectatorship in the context of a mobile and interactive spectator. Through a series of detailed historical case studies, Alison Griffiths masterfully explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising antecedents of modern media forms, suggesting the spectator's deep-seated desire to become immersed in a virtual world. Shivers Down Your Spine demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives have redefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more.

In 1950, Velma Johnston was a thirty-eight-year-old secretary enroute to work near Reno, Nevada, when she came upon a truck of battered wild horses that had been rounded up and were to be slaughtered for pet food. Shocked and angered by this gruesome discovery, she vowed to find a way to stop the cruel round-ups, a resolution that led to a life-long battle that would pit her against ranchers and powerful politicians--but eventually win her support and admiration around the world. This is the first biography to tell her courageous true story..

Like Dian Fossey, Jane Goodall, or Temple Grandin, Velma Johnston dedicated her life to public awareness and protection of animals. "Wild Horse Annie""and the Last of the Mustangs" follows Velma from her childhood, in which she was disfigured by polio, to her dangerous vigilante-style missions to free captured horses and document round-ups, through the innovative and exhaustive grassroots campaign which earned her the nickname "Wild Horse Annie" and led to Congress passing the "Wild Horse Annie Bill," to her friendship with renowned children's author and horse-lover Marguerite Henry..

A powerful combination of adventure, history, and biography, "Wild Horse Annie and the Last of the Mustangs" beautifully captures the romance and magic of wild horses and the character of the strong-willed woman who made their survival her legacy. .

The ethical and ideological implications of cross-cultural image-making continue to stir debate among anthropologists, film scholars, and museum professionals. This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.

In this edited collection, institutional ethnographers draw on their field research experiences to address different aspects of institutional ethnographic practice. As institutional ethnography embraces the actualities of people's experiences and lives, the contributors utilize their research to reveal how institutional relations and regimes are organized. As a whole, the books aims to provide readers with an accurate overview of what it is like to practice institutional ethnography, as well as the main varieties of approaches involved in the research.

In this edited collection, institutional ethnographers draw on their field research experiences to address different aspects of institutional ethnographic practice. As institutional ethnography embraces the actualities of people's experiences and lives, the contributors utilize their research to reveal how institutional relations and regimes are organized. As a whole, the book aims to provide readers with an accurate overview of what it is like to practice institutional ethnography, as well as the main varieties of approaches involved in the research.