This book provides a critical reappraisal of Barbara Creed's ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman's victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed's ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.

This book provides a critical reappraisal of Barbara Creed's ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman's victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed's ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.

Current images of sustainability are often designed to instil fear and force change, not because we believe in it, but because we fear the consequences of inaction. Moving away from negative portrayals of sustainability, this book identifies the factors that motivate people to aspire towards sustainable living. It introduces the notion of sustainability as an "object of desire" that will allow people not to be scared of the future but rather to dream about it and look forward to a better quality of life. Tracing the history of major changes in our society that have dramatically altered our perceptions, beliefs and attitudes about sustainability, the book analyses the role of communications in persuading people of the benefits of sustainable living. It describes our current desires and dreams and explains why we need to change. Finally, the book suggests what could be done to not only make sustainability an object of desire, but also introduce hopes and dreams for a better future into our everyday lives. This inspiring and interdisciplinary book provides innovative insights for researchers, students and professionals in a range of disciplines, in particular environment and sustainability, sustainable marketing and advertising, and psychology.

Current images of sustainability often are designed to instill fear and force change, not because we believe in it, but because we fear the consequences of inaction. We also far too often are faced with adverts that use sustainability images in order to sell their product, which are not sustainable at all.

This book identifies the factors that motivate people to aspire towards sustainable living and determines the role of communications in persuading people of the benefits of sustainable living. It introduces the notion of sustainability as an "object of desire," that will allow people to not be scared of the future but rather, to dream about it and look forward to a better quality of life. The book traces the history of major changes in our society that have dramatically changed our perceptions, beliefs and attitudes as related to sustainability. It describes our current desires and dreams and explains why we need to change. Further, it identifies the factors that motivate people to aspire towards sustainable living and determines the role of communications in persuading people of the benefits of sustainable living. Finally it suggests what could be done to not only make sustainability an object of desire, but also introduce hopes and dreams for a better future into our everyday lives.

This inspiring and interdisciplinary book provides innovative insights for researchers, students and professionals in a range of disciplines, in particular environment and sustainability, sustainable marketing and advertising, communication studies, and behavioural studies.

This interdisciplinary collection examines the shaping of local sexual cultures in the Asian Pacific region in order to move beyond definitions and understandings of sexuality that rely on Western assumptions. The diverse studies in "AsiaPacifiQueer" demonstrate convincingly that in the realm of sexualities, globalization results in creative and cultural admixture rather than a unilateral imposition of the western values and forms of sexual culture. These essays range across the Pacific Rim and encompass a variety of forms of social, cultural, and personal expression, examining sexuality through music, cinema, the media, shifts in popular rhetoric, comics and magazines, and historical studies. By investigating complex processes of localization, interregional borrowing, and hybridization, the contributors underscore the mutual transformation of gender and sexuality in both Asian Pacific and Western cultures.
Contributors are Ronald Baytan, J. Neil C. Garcia, Kam Yip Lo Lucetta, Song Hwee Lim, J. Darren Mackintosh, Claire Maree, Jin-Hyung Park, Teri Silvio, Megan Sinnott, Yik Koon Teh, Carmen Ka Man Tong, James Welker, Heather Worth, and Audrey Yue.

To date, there has been little sustained attention given to the historical cinema relations between Australia and Asia. This is a significant omission given Australia's geo-political position and the place Asia has held in the national imaginary, oscillating between threat and opportunity. Many accounts of Australian cinema begin with the 1970s film revival, placing "Asian-Australian cinema" within a post-revival schema of multicultural or diasporic cinema and ignoring Asian-Australian connections prior to the revival. Transnational Australian Cinema charts a history of Asian-Australian cinema, encompassing the work of diasporic Asian filmmakers, films featuring images of Asia and Asians, films produced by Australians working in Asia's film industries or addressed at Asian audiences, and Asian films that use Australian resources, including locations and personnel. Utilizing an interdisciplinary approach, the book considers diasporic Asian histories, the impact of government immigration and film policies on representation, and the new aesthetic styles and production regimes created by filmmakers who have forged links, both through roots and routes, with Asia. This expanded history of Asian-Australian cinema allows for a renewed discussion of so-called dormant periods in the nation's film history. In this respect, the mapping of an expanded history of cinema practices contributes to our broader aim to rethink the transnationalism of Australian cinema.

To date, there has been little sustained attention given to the historical cinema relations between Australia and Asia. This is a significant omission given Australia's geo-political position and the place Asia has held in the national imaginary, oscillating between threat and opportunity. Many accounts of Australian cinema begin with the 1970s film revival, placing "Asian-Australian cinema" within a post-revival schema of multicultural or diasporic cinema and ignoring Asian-Australian connections prior to the revival. Transnational Australian Cinema charts a history of Asian-Australian cinema, encompassing the work of diasporic Asian filmmakers, films featuring images of Asia and Asians, films produced by Australians working in Asia's film industries or addressed at Asian audiences, and Asian films that use Australian resources, including locations and personnel. Utilizing an interdisciplinary approach, the book considers diasporic Asian histories, the impact of government immigration and film policies on representation, and the new aesthetic styles and production regimes created by filmmakers who have forged links, both through roots and routes, with Asia. This expanded history of Asian-Australian cinema allows for a renewed discussion of so-called dormant periods in the nation's film history. In this respect, the mapping of an expanded history of cinema practices contributes to our broader aim to rethink the transnationalism of Australian cinema.

"Mobile Cultures "provides much-needed, empirically grounded studies of the connections between new media technologies, the globalization of sexual cultures, and the rise of queer Asia. The availability and use of new media--fax machines, mobile phones, the Internet, electronic message boards, pagers, and global television--have grown exponentially in Asia over the past decade. This explosion of information technology has sparked a revolution, transforming lives and lifestyles, enabling the creation of communities and the expression of sexual identities in a region notorious for the regulation of both information and sexual conduct. Whether looking at the hanging of toy cartoon characters like "Hello Kitty" from mobile phones to signify queer identity in Japan or at the development of queer identities in Indonesia or Singapore, the essays collected here emphasize the enormous variance in the appeal and uses of new media from one locale to another.

Scholars, artists, and activists from a range of countries, the contributors chronicle the different ways new media galvanize Asian queer communities in Taiwan, South Korea, Japan, Indonesia, Thailand, Malaysia, India, and around the world. They consider phenomena such as the uses of the Internet among gay, lesbian, or queer individuals in Taiwan and South Korea; the international popularization of Japanese queer pop culture products such as Yaoi manga; and a Thai website's reading of a scientific tract on gay genetics in light of Buddhist beliefs. Essays also explore the politically subversive possibilities opened up by the proliferation of media technologies, examining, for instance, the use of Cyberjaya--Malaysia's government-backed online portal--to form online communities in the face of strict antigay laws.

"Contributors. "Chris Berry, Tom Boellstorff, Larissa Hjorth, Katrien Jacobs, Olivia Khoo, Fran Martin, Mark McLelland, David Mullaly, Baden Offord, Sandip Roy, Veruska Sabucco, Audrey Yue