The father is an enduring and iconic figure in Hollywood cinema and in the 1990s, narratives of redemptive fatherhood featured prominently in some of the decade's most popular films like Kindergarten Cop (1990), Mrs Doubtfire (1993), Jurassic Park (1993) and The Lion King (1994). Interpreting such films through the lens of feminist and queer theory, along with masculinity studies and psychoanalysis, Katie Barnett offers an insightful and interdisciplinary discussion of cinematic fathers. Barnett reveals that the father figure is often portrayed as one that invests in and is part of a discourse of reproductive futurism. This plays out across a range of genres including rom-coms, fantasy, sci-fi, drama, and disaster. By exploring both blockbuster and more low-budget films of the 1990s, Barnett explores the figure of the father against the crisis of masculinity in the United States, and indeed more globally, at this time.

This book defends the view that an award of an account of profits (or 'disgorgement damages') for breach of contract will sometimes be justifiable, and it fits within the orthodox principles and cases in contract law. However, there is some confusion as to when such an award should be made. The moral bases for disgorgement damages are deterrence and punishment, which shape the remedy in important ways. Courts are also concerned with vindication of the claimant's performance interest, and it is pivotal that the claimant can procure a substitute performance via an award of damages or specific relief. The book argues that disgorgement damages should be available in two categories of case: 'second sale' cases, where the defendant breaches his contract with the claimant to make a more profitable contract with a third party; and 'agency problem' cases, where the defendant promises the claimant he will not do a certain thing, and the claimant finds it difficult to supervise the performance. Moreover, disgorgement may be full or partial, and 'reasonable fee damages' for breach of contract are best understood as partial disgorgement rather than 'restitutionary damages.' Equitable bars to relief should also be adopted in relation to disgorgement damages, as should allowances for skill and effort. Accounting for Profit for Breach of Contract will be of interest to contract and commercial lawyers, and it will be especially valuable to anyone with an interest in contract remedies and restitution. The book draws on case law in a number of common law jurisdictions, primarily England, Wales, and Australia. (Series: Hart Studies in Private Law)

Remedies Cases and Materials in Australian Private Law presents a selection of cases and legislation to introduce students to the remedies available under Australian law. It offers the depth and context required to understand and analyse the application of private law remedies. Developed to accompany the second edition of Remedies in Australian Private Law, and following its accessible and systematic structure, this casebook contains carefully curated extracts from landmark cases, legislation and secondary sources. The selected extracts offer a comprehensive yet concise guide to the application of remedies. Each chapter includes clear explanations of topics and links to material in the principles text, along with flowcharts and diagrams to summarise complex cases and concepts. Review questions encourage students to analyse decisions from important cases and test their knowledge. Written by an expert author team, Remedies Cases and Materials in Australian Private Law is an invaluable resource which enables students to understand remedial law.

The father is an enduring and iconic figure in Hollywood cinema and in the 1990s, narratives of redemptive fatherhood featured prominently in some of the decade's most popular films like Kindergarten Cop (1990), Mrs Doubtfire (1993), Jurassic Park (1993) and The Lion King (1994). Interpreting such films through the lens of feminist and queer theory, along with masculinity studies and psychoanalysis, Katie Barnett offers an insightful and interdisciplinary discussion of cinematic fathers. Barnett reveals that the father figure is often portrayed as one that invests in and is part of a discourse of reproductive futurism. This plays out across a range of genres including rom-coms, fantasy, sci-fi, drama, and disaster. By exploring both blockbuster and more low-budget films of the 1990s, Barnett explores the figure of the father against the crisis of masculinity in the United States, and indeed more globally, at this time.

This collection of essays presents a sampling of film and television texts, interrogating images of U.S. masculinity. Rather than using "postfeminist" as a definition of contemporary feminism, this collection uses the term to designate the period from the late 1980s on-as a point when feminist thought gradually became more mainstream. The movies and TV series examined here have achieved a level of sustained attention, from critical acclaim, to mass appeal, to cult status. Instead of beginning with a set hypothesis on the effect of the feminist movement on images of masculinity on film and television, these chapters represent a range of responses, that demonstrate how the conversations within these texts about American masculinity are often open-ended, allowing both male characters and male viewers a wider range of options. Defining the relationship between U.S. masculinity and American feminist movements of the twentieth century is a complex undertaking. The essays collected for this volume engage prominent film and television texts that directly interrogate images of U.S. masculinity that have appeared since second-wave feminism. The contributors have chosen textual examples whose protagonists actively struggle with the conflicting messages about masculinity. These protagonists are more often works-in-progress, acknowledging the limits of their negotiations and self-actualization. These chapters also cover a wide range of genres and decades: from action and fantasy to dramas and romantic comedy, from the late 1970s to today. Taken together, the chapters of Screening Images of American Masculinity in the Age of Postfeminism interrogate "the possible" screened in popular movies and television series, confronting the multiple and competing visions of masculinity not after or beyond feminism but, rather, in its very wake.