Examining the ways in which feminist and queer activists confront privilege through the use of intersectionality, this edited collection presents empirical case studies from around the world to consider how intersectionality has been taken up (or indeed contested) by activists in order to expose and resist privilege. The volume sets out three key ways in which intersectionality operates within feminist and queer movements: it is used as a collective identity, as a strategy for forming coalitions, and as a repertoire for inclusivity. The case studies presented in this book then evaluate the extent to which some, or all, of these types of intersectional activism are used to confront manifestations of privilege. Drawing upon a wide range of cases from across time and space, this volume explores the difficulties with which activists often grapple when it comes to translating the desire for intersectionality into a praxis which confronts privilege. Addressing inter-related and politically relevant questions concerning how we apply and theorise intersectionality in our studies of feminist and queer movements, this timely edited collection will be of interest to students and scholars from across the social sciences and humanities with an interest in gender and feminism, LGBT+ and queer studies, and social movement studies.

London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary. Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy. This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.

Examining the ways in which feminist and queer activists confront privilege through the use of intersectionality, this edited collection presents empirical case studies from around the world to consider how intersectionality has been taken up (or indeed contested) by activists in order to expose and resist privilege. The volume sets out three key ways in which intersectionality operates within feminist and queer movements: it is used as a collective identity, as a strategy for forming coalitions, and as a repertoire for inclusivity. The case studies presented in this book then evaluate the extent to which some, or all, of these types of intersectional activism are used to confront manifestations of privilege. Drawing upon a wide range of cases from across time and space, this volume explores the difficulties with which activists often grapple when it comes to translating the desire for intersectionality into a praxis which confronts privilege. Addressing inter-related and politically relevant questions concerning how we apply and theorise intersectionality in our studies of feminist and queer movements, this timely edited collection will be of interest to students and scholars from across the social sciences and humanities with an interest in gender and feminism, LGBT+ and queer studies, and social movement studies.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries. Audience 'engagement' has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is 'engaging' and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced. Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set 's status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with television without ever turning a television set on.

Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of the television audience Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry 's development of emerging new media technologies, and what television now means for its audiences.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set's status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with 'television' without ever turning a television set on. Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of 'the television audience'? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry's development of emerging new media technologies, and what 'television' now means for its audiences.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries. Audience 'engagement' has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is 'engaging' and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced. Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

This collection of poetry and prose is authored by the participants of the 2012 Cape Henlopen Writers' Retreat.

"He settles the barren woman in her home as a happy mother of children. Praise the LORD." Psalm 113:9 Barren. Even now, the pain is still very real. The reality of the failure I felt as a woman in not being able to conceive is beyond what I can put into words. The empty feeling of barrenness is as massive and harsh as the word itself implies. But, even in the midst... God's grace is sufficient

..". A beautiful devotional written by a godly woman that knows about struggle and pain, and how to live above it..." Denise George, Boot Camp for Christian Writers There is a time for everything, a season for every activity under heaven. Ecclesiastes 3:1 Life's journey carries us through seasons. Just as in the cultivation of a garden the season's are not only important, but imperative. Each season is in determinied preparation to bring about the intended, individually designed creation. There is no difference with us. The season's of our life are imperative in the cultivation of our hearts, creating Christ's character in us as we journey along with Him The beautiful treasured gift that carries us throughout our journey is His unmerited favor...His grace He longs to call you away, unto Himself. A place of shelter from the storms of life. A haven of rest when you are wearied on this journey. A place of strength when the battle is long and treacherous. A place of comfort when your heart is aching. A place of Honor sitting at His feet, embraced by His love and grace as you bask in His presence Take God's hand in this journey of life as you grow in your intimacy with Him

...I heard the last whir of the siren as we came to a stop. The doors flew open just as everything went black..." This is the story of David Evan's miraculous healing after cardiac arrest. "The purpose of this book is to tell of the marvelous and gracious God that we serve. Some of the events told in the pages of this book are most definitely extraordinary but the person to whom they happened is just as definitely very ordinary. There is no difference between you and I other than the fact that I have told my story and maybe yours is yet to be told. I dare to say that God has done extraordinary things in the lives of each individual, whether they were recognized and honored depends on the individual. I encourage you to give testimony of what God has done in your life and know that there is a purpose for it. I do not believe in happenstance for I know that God is in control and He is a God of purpose, planning and process. "He will work all things for good for those who love Him and are called according to His purpose." (Romans 8:28) My hope in telling my story is to bring encouragement to others and to give praise to God for his healing in my life. I pray that no matter what the circumstances you may be facing in your life or that you have faced in the past that through my testimony you may recognize God's power and that you will know that what He has done in my life is also what He can do and will do in your life." David and Elizabeth Evans