Recent controversies around ESG investing and “woke” capital evoke an old idea: the Progressive-era vision of a socially responsible corporation. By midcentury, in fact, the notion that business leaders could benefit society had become a consensus view. But as Kyle Edward Williams’s brilliant history shows, New Deal liberalism realized a kind of big business supervision narrowly focused on the financial interests of shareholders. This inadvertently laid the groundwork for a set of fringe views to become orthodoxy: that market forces should rule every facet of society. Along the way American capitalism itself was reshaped, stripping businesses to their profit-making core. As a rising tide of activists pushed corporations to account for societal harms from napalm to seatbelts to inequitable hiring, a new idea emerged: that managers could maximize value for society while still turning a maximal profit. This elusive ideal, “stakeholder capitalism,” still dominates our headlines today. Williams’s necessary history equips us to reconsider democracy’s tangled relationship with capitalism.

More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

Embodied Idolatry is an examination of the effect of Christian nationalism on Christian practice in the United States. The author focuses on the mechanisms by which such beliefs become sedimented into the emotional, embodied structures of the church and the individual. Using a variety of disciplines, the author thus identifies and highlights how such beliefs and practices are, in fact, idolatrous and inhabit an anti-Christian theological and ethical space. The volume, in this, describes the formative process and mechanisms by which social and cultural values are acquired through imitation, by the individual and within ecclesial communities. As a constructive countermeasure, the volume investigates Jesus' practice in his own social, cultural, political, religious, and economic context, and argues that Christian nationalism is a betrayal of Jesus' teachings in light of his own practice of hospitality and table fellowship. The volume, thus, calls Christians to conversion, putting loyalty to the kingdom of God over that of the nation.

From Pieces to Peace is the authors' personal experience and lifelong struggle of having an abortion. This book reveals many truths about abortion and Post Abortion Syndrome. Guilt, shame and bitterness were a way of life that Kyle thought she deserved until the knowledge and understanding of Gods love and forgiveness was revealed. It is because of Christ's great sacrifice that we can come boldly to the throne of God seeking freedom from the bondages that occur because of our sin and receive it. She is living proof that God can and does make a difference in ones life. She believes; "Discovering who we are and where we are going can only be done by discovering where we have come from." Kyle Edwards lives in Ohio and is a single mom of one son, age 24. Kyle has been in the healthcare profession for 28 years. As a Registered nurse, she has had the opportunity to teach high school students as well as adults pursuing careers in healthcare. Kyle has continued her role as a student as she is pursuing her Master of Science in Nursing.

Embodied Idolatry: A Critique of Christian Nationalism is an examination of the effect of Christian nationalism on Christian practice in the United States. Kyle Edward Haden focuses on the mechanisms by which such beliefs become sedimented into the emotional, embodied structures of the church and the individual. Using a variety of disciplines, Haden thus identifies and highlights how such beliefs and practices are, in fact, idolatrous and inhabit an anti-Christian theological and ethical space. This book describes the formative process and mechanisms by which social and cultural values are acquired through imitation, by the individual and within ecclesial communities. As a constructive countermeasure, it investigates Jesus's practice in his own social, cultural, political, religious, and economic context, and argues that Christian nationalism is a betrayal of Jesus's teachings in light of his own practice of hospitality and table fellowship. This book thus calls Christians to conversion, putting loyalty to the kingdom of God over that of the nation.