Ovid's Fasti is a journey through ancient Rome, using the calendar as a guide. The reader of this poem tours the monuments of the Augustan-era city, witnesses both urban and rustic seasonal festivals, and commemorates the epic events of long-past history. The reader also experiences the passage of the year, as measured by the natural world: the rising and setting of constellations, the migration of birds, and the comforting rhythms of agriculture. Throughout, Ovid enlivens the narrative with myths, including Romulus and Remus, Callisto and Jupiter, Lucretia and Tarquinius, Hercules and Cacus, and many more. In doing so, he evokes the questions of what constitutes justice, or glory, or patriotism. The result is a lively tour of the Roman year-sometimes thoughtful, sometimes tragic, sometimes triumphant or even farcical-that interweaves human customs into the natural world, and gives occasional glimpses of awe-inspiring divinities on the streets of Rome. This volume covers the first half of the Fasti (Books I-III), including the original Latin text and also a new translation in clear, idiomatic prose on facing pages. An introduction on Ovid's life and Augustan literature, as well as an incisive commentary with up-to-date bibliography, give the reader extensive background to interpret the text.

The rapid growth of new media technologies is radically changing film production and consumption. New technologies such as DVDs, MP3s and the Internet have freed the audience from traditional ways of relating to what used to be termed "mass media". In the face of such seismic shifts, the theoretical and pedagogical structures of film and television studies are being shaken to their core. New Media responds to these revolutionary developments, bringing together authors including Constance Penley and Henry Jenkins to address topics such as computer games, digital animation techniques, media convergence, and internet audiences.

The rapid growth of new media technologies is radically changing film production and consumption. New technologies such as DVDs, MP3s and the Internet have freed the audience from traditional ways of relating to what used to be termed "mass media". In the face of such seismic shifts, the theoretical and pedagogical structures of film and television studies are being shaken to their core. New Media responds to these revolutionary developments, bringing together authors including Constance Penley and Henry Jenkins to address topics such as computer games, digital animation techniques, media convergence, and internet audiences.

In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself was signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality. Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade's top ten films were opened by three women-Julia Roberts, Jodie Foster, and Whoopi Goldberg. "Chick flick" entered the lexicon as Leonardo DiCaprio became the "King of the World," ushering in the cult of the mega celebrity. Tom Hanks and Tom Cruise defined screen masculinity as stark contrasts between "the regular guy" and "the intense guy" while the roles of Michael Douglas exemplified the endangered "Average White Male." A fascinating composite portrait of 1990s Hollywood and its stars, this collection marks the changes to stardom and society at century's end.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.

In Returning the Gaze Anna Everett revises American film history by recuperating the extensive and all-but-forgotten participation of black film critics during the early twentieth century. While much of the existing scholarship on blacks and the cinema focuses on image studies and stereotypical representations, this work excavates a wealth of early critical writing on the cinema by black cultural critics, academics, journalists, poets, writers, and film fans. Culling black newspapers, magazines, scholarly and political journals, and monographs, Everett has produced an unparalleled investigation of black critical writing on the early cinema during the era of racial segregation in America. Correcting the notion that black critical interest in the cinema began and ended with the well-documented press campaign against D. W. Griffith’s Birth of a Nation, she discovers that as early as 1909 black newspapers produced celebratory discourses about the cinema as a much-needed corrective to the predominance of theatrical blackface minstrelsy. She shows how, even before the Birth of a Nation controversy, the black press succeeded in drawing attention to both the callous commercial exploitation of lynching footage and the varied work of black film entrepreneurs. The book also reveals a feast of film commentaries that were produced during the “roaring twenties” and the jazz age by such writers as W.E.B. DuBois, Langston Hughes, and Zora Neale Hurston, as well as additional pieces that were written throughout the Depression and the pre– and post–war periods. Situating this wide-ranging and ideologically complex material in its myriad social, political, economic, and cultural contexts, Everett aims to resuscitate a historical tradition for contemporary black film literature and criticism. Returning the Gaze will appeal to scholars and students of film, black and ethnic studies, American studies, cultural studies, literature, and journalism.