Through American history, often in times of crisis, there have been periodic outbreaks of obsession with the paranormal. Between 2004 and 2019, over six dozen documentary-style series dealing with paranormal subject matter premiered on television in the United States. Combining the stylistic traits of horror with earnest accounts of what are claimed to be actual events, "paranormal reality" incorporates subject matter formerly characterized as occult or supernatural into the established category of reality TV. Despite the high number of programs and their evident popularity, paranormal reality television has to date received little critical attention. Ghost Channels: Paranormal Reality Television and the Haunting of Twenty-First-Century America provides an overview of the paranormal reality television genre, its development, and its place in television history. Conducting in-depth analyses of over thirty paranormal television series, including such shows as Ghost Hunters, Celebrity Ghost Stories, and Long Island Medium, author Amy Lawrence suggests these programs reveal much about Americans' contemporary fears. Through her close readings, Lawrence asks, "What are these shows trying to tell us?" and "What do they communicate about contemporary culture if we take them seriously and watch them closely?" Ridiculed by nearly everyone, paranormal reality TV shows-with their psychics, ghost hunters, and haunted houses-provide unique insights into contemporary American culture. Half-horror, half-documentary realism, these shows expose deep-seated questions about class, race, gender, the value of technology, the failure of institutions, and what it means to be American in the twenty-first century.

The Films of Peter Greenaway is the first critical overview of one of the most controversial contemporary film-makers. Trained as an artist, Greenaway began his career in cinema as an editor of government-sponsored films. He began to attract critical attention in 1980 with his epic mock-documentary The Falls, the first British film to be named Best Film by the British Film Institute in 30 years. Since then he has created the wittily elegant The Draughtsman's Contract, the strikingly unconventional Shakespearean adaptation Prospero's Books, and the disturbingly violent The Cook, The Thief, His Wife and Her Lover. In-depth analyses of these and several other of Greenaway's most important works are examined within the context of the director's biography and artistic goals. This edition also includes stills from Greenaway's feature films, as well as his own drawings.

Anyone not adequately acquainted with the South's true culinary terrain might struggle with the idea of a Southern vegetarian. Because isn't the South one big feast of meaty indulgence? Don't vegetables play a supporting role to fried chicken and bacon on a Southern table? Justin Fox Burks and Amy Lawrence turn that notion on its head by recasting garden bounty as the headlining act on a plate. In a region distinguished by ideal growing conditions and generations of skilled farmers, Southern-style vegetarian cooking is not only possible, it's a pursuit brimming with vine-ripened possibility.

Grab a chair in Burks and Lawrence's kitchen and discover modern recipes that evoke the flavors of traditional Southern cooking, with techniques and ingredients loved so dearly throughout the region:

• Lemon Zest and Thyme Pimento Cheese
• Grilled Watermelon and Tomato Salad with Honey Lime Vinaigrette
• Okra Fritters with Creole Mustard Sauce
• Vegetarian Red Beans and Rice with Andouille Eggplant
• Roast Beet Salad with Sea Salt Granola and Honey Tarragon Dressing
• Grilled Peach Ice Cream

Whether you're a devoted plant-eater or a steadfast omnivore, The Southern Vegetarian Cookbook will help you shift vegetables from the outskirts of your plate into main course position. Eating your vegetables has never been more delicious.

"True Southern food will always adapt to its surroundings. It is not the stubborn lout that many think it is, rather it's a nimble cheerleader of its region. It revels in vegetables and cherishes seasons. Burks and Lawrence are adding healthy substance to the definition of our Southern food. The Southern Vegetarian is a great addition to any culinary library." --Hugh Acheson, author of A New Turn in the South

"Come eat with The Chubby Vegetarian. Justin and Amy are the only people I have ever met who can take the hock out of greens and not remove the soul from the pot." --Kelly English, Food & Wine Best New Chef 2009, Chef/Owner of Restaurant Iris

"What you have in your hands is a gift. It is a fresh, fun, slightly irreverent and joyful new look at Southern vegetarian dishes...a look that needed to be taken." --John Currence, James Beard Foundation award for Best Chef South, Chef/Owner, City Grocery Restaurant Group

In 2003-04, Arsenal overcame every conceivable challenge to complete a 38-game league without a single loss. It was a feat unequalled in modern football. But for Arsene Wenger's 'Invincibles', a team including legends Thierry Henry, Patrick Vieira and Dennis Bergkamp, it was a challenge that went far beyond sport. Based on exclusive players interviews, this definitive book relives the pivotal games and moments, and allows the Invincibles to tell their own story. It takes readers inside the locker room, to reveal the teamwork, the psychology and the struggle behind one of the greatest teams in history.

From his 1948 film debut in "Red River" through such classics as "The Heiress", "A Place in the Sun", and "From Here to Eternity", Montgomery Clift exemplified a new masculinity and - leading the way for a generation of actors, including Marlon Brando and James Dean - epitomized the new naturalistic style of acting. Clift's impact was such that, both during his troubled life and after his untimely death, fans described the actor in religious terms, characterizing Clift as a vision, acolyte, and martyr. In "The Passion of Montgomery Clift", Amy Lawrence challenges the myth of Clift as tragic victim by examining Clift's participation in the manipulation of his image, his collaborations with directors, his relationships with co-stars, and his interactions with writers.

Through American history, often in times of crisis, there have been periodic outbreaks of obsession with the paranormal. Between 2004 and 2019, over six dozen documentary-style series dealing with paranormal subject matter premiered on television in the United States. Combining the stylistic traits of horror with earnest accounts of what are claimed to be actual events, "paranormal reality" incorporates subject matter formerly characterized as occult or supernatural into the established category of reality TV. Despite the high number of programs and their evident popularity, paranormal reality television has to date received little critical attention. Ghost Channels: Paranormal Reality Television and the Haunting of Twenty-First-Century America provides an overview of the paranormal reality television genre, its development, and its place in television history. Conducting in-depth analyses of over thirty paranormal television series, including such shows as Ghost Hunters, Celebrity Ghost Stories, and Long Island Medium, author Amy Lawrence suggests these programs reveal much about Americans' contemporary fears. Through her close readings, Lawrence asks, "What are these shows trying to tell us?" and "What do they communicate about contemporary culture if we take them seriously and watch them closely?" Ridiculed by nearly everyone, paranormal reality TV shows-with their psychics, ghost hunters, and haunted houses-provide unique insights into contemporary American culture. Half-horror, half-documentary realism, these shows expose deep-seated questions about class, race, gender, the value of technology, the failure of institutions, and what it means to be American in the twenty-first century.

With its sharp focus on stardom during the 1920s, "Idols of Modernity" reveals strong connections and dissonances in matters of storytelling and performance that can be traced both backward and forward, across Europe, Asia, and the United States, from the silent era into the emergence of sound.
Bringing together the best new work on""cinema""and stardom in the 1920s, this illustrated collection showcases the range of complex social, institutional, and aesthetic issues at work in American cinema of this time. Attentive to stardom as an ensemble of texts, contexts, and social phenomena stretching beyond the cinema, major scholars provide careful analysis of the careers of both well-known and now forgotten stars of the silent and early sound era--Douglas Fairbanks, Buster Keaton, the Talmadge sisters, Rudolph Valentino, Gloria Swanson, Clara Bow, Colleen Moore, Greta Garbo, Anna May Wong, Emil Jannings, Al Jolson, Ernest Morrison, Noble Johnson, Evelyn Preer, Lincoln Perry, and Marie Dressler.

'Isn't it lovely to have moments in your life where you think, oh, nothing can beat that. Nothing.' George Graham Anfield, May 26th 1989. The final day of the Division One season. An iconic underdog story. Set against the backdrop of Hillsborough disaster, and during an emotional era in football long before the Premier League as we now know it, 89 is an oral history of a sporting moment so unusual it felt instantly historic. Drawing on years of research, writer Amy Lawrence brings together fascinating and never-before seen testimony from the voices who were there, on the pitch, off it, and beyond. 89 creates a definitive and kaleidoscopic portrait of a match that changed English football forever. 'Once it hits the net I'm just thinking ecstasy really. It's incredible. I've done what I wanted to do. That's that feeling. I've done it.' Michael Thomas

This is a true story about a really big dog whose really big heart led him to find his really big forever family. This is a true rescue-to-riches tale that all will enjoy, both young and old alike

Jacob Cassidy had a life long desire of hunting, and at his father's insistence Jake was going to take a needed vacation. When he left, he didn't know his strong desires for the hunt would wander to a prey, with two long sexy legs, instead of four. Meeting Sherry while on a hunting trip, she caught his eyes, and captured his heart. Jake wasn't sure if he wanted to give his heart to another woman, after his ex-wife had burned him, leaving a hole in his heart. Seven years she managed to stay away from men. Working as a bartender, Sheryl Greene didn't know if love was meant for her. She had her fill of abuse and hard times, and grew up in a family with out affection. Not ready to open up she tried to keep her distance, but at his persistence, her desires seemed to be her own undoing. She had great friends and a very quiet life. He had a love for the hunt... But could this huntress love him?

Do women in classical Hollywood cinema ever truly speak for themselves? In "Echo and Narcissus", Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a 'problem', an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films. Using "Sadie Thompson" (1928), "Blackmail" (1929), "Rain" (1932), "The Spiral Staircase", "Sorry, Wrong Number", "Notorious", "Sunset Boulevard" (1950) and "To Kill a Mockingbird" (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are fore grounded, called upon to silence women and to restore the primacy of the image. Unlike the usage of 'voice' by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. "Echo and Narcissus" shows how assumptions about the 'deficiencies' of women's voices and speech are embedded in sound's history, technology, uses and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film.