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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.
You will spend on average six years of your life dreaming. This is
more than a simple mental process. It is clear from the Bible that
dreams and visions are important ways in which God chooses to speak
to people. This book teaches you how to understand the language of
dreams and visions so that you can hear what God is saying to you
at night, and during your prayer times. Love has a Voice and He
wants to speak to His modern-day people. Everybody dreams, and
there is great interest in dreams. Interpreting dreams for
non-Christian people can help them to receive God's love and
guidance. The book is highly practical, and includes training
exercises at the end of each chapter.
Perfect for fans of Jessica Jones and True Blood, this is a blockbuster modern fantasy set in a divided world where one woman must uncover the truth to seek her revenge.
Half-Fae, half-human Bryce Quinlan loves her life. Every night is a party and Bryce is going to savour all the pleasures Lunathion - also known as Crescent City - has to offer. But then a brutal murder shakes the very foundations of the city, and brings Bryce's world crashing down.
Two years later, Bryce still haunts the city's most notorious nightclubs - but seeking only oblivion now. Then the murderer attacks again. And when an infamous Fallen angel, Hunt Athalar, is assigned to watch her every footstep, Bryce knows she can't forget any longer.
As Bryce and Hunt fight to unravel the mystery, and their own dark pasts, the threads they tug ripple through the underbelly of the city, across warring continents, and down to the deepest levels of Hel, where things that have been sleeping for millennia are beginning to stir...
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Remaking Myself (Paperback)
Daniel Doody, Bethany Tayler; Illustrated by Elizabeth Evans
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R369
Discovery Miles 3 690
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Ships in 10 - 15 working days
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This collection of poetry and prose is authored by the participants
of the 2012 Cape Henlopen Writers' Retreat.
...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
"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
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