Mel Brooks' Oscar-nominated horror spoof, the follow-up to 'Blazing Saddles' and the highest grossing black-and-white film of all time. Gene Wilder plays Frederick Frankenstein, a teacher who inherits his grandfather's Transylvanian estate; Marty Feldman plays Igor, his hunchback assistant; and Peter Boyle, the tap-dancing monster he brings to life in his laboratory.

Cleavon Little plays an escaped black convict who ends up being given the poison chalice job of the new Rockridge Sheriff by scheming railroad developer and politician Hedley LaMarr (Harvey Korman). Notionally sent in to protect the ungrateful Rockridge community from marauding gangs, his only ally turns out to be alcoholic former gunslinger The Waco Kid (Gene Wilder). Though initially expressing racial prejudice the townsfolk eventually adopt the Sheriff to help them outwit Hedley LaMarr, deciding to construct an exact replica of their town to fool the invading posse. The film descends into postmodern chaos as the action spills out of the film set into wider Hollywood.

Why Are We Reading Ovid's Handbook on Rape? raises feminist issues in a way that reminds people why they matter. We eavesdrop on the vivid student characters in their hilarious, frustrating, and thought-provoking efforts to create strong and flexible selves against the background of representations of women in contemporary and classical Western literature. Young women working together in a group make surprising choices about what to learn, and how to go about learning it. Along the way they pose some provocative questions about how well traditional education serves women. Equally engaging is Kahn's own journey as she confronts questions that are fundamental to women, to teachers, to students and to parents: Why do we read? What can we teach? and What does gender have to do with it?

Why Are We Reading Ovid's Handbook on Rape? raises feminist issues in a way that reminds people why they matter. We eavesdrop on the vivid student characters in their hilarious, frustrating, and thought-provoking efforts to create strong and flexible selves against the background of representations of women in contemporary and classical Western literature. Young women working together in a group make surprising choices about what to learn, and how to go about learning it. Along the way they pose some provocative questions about how well traditional education serves women. Equally engaging is Kahn's own journey as she confronts questions that are fundamental to women, to teachers, to students and to parents: Why do we read? What can we teach? and What does gender have to do with it?

Peter Bogdanovich directs this comedy drama set during the Great Depression. At her mother's funeral nine-year-old Addie Loggins (Tatum O'Neal) meets Moses Pray (Ryan O'Neal), a man who many of the locals suspect of being her long-absent father. Although he denies the allegations, Moses is persuaded to take Addie to her new home with her aunt in Missouri. Along the way, the young orphan discovers that Moses is a travelling conman who preys on recently widowed women by selling them a personalised Bible. The pair form a formidable partnership after Addie demonstrates a natural talent for confidence tricks and joins Moses on the road to execute his scams. But their success and friendship is threatened when Moses becomes fascinated with an exotic dancer named Trixie Delight (Madeline Kahn), leaving Addie to devise a plan to bring him back to his senses.

Many of the earliest canonical novels—including Defoe's Moll Flanders and Roxana and Richardson's Pamela and Clarissa—were written by men who assumed the first-person narrative voice of women. What does it mean for a man to write his "autobiography" as if he were a woman? What did early novelists have to gain from it, in a period when woman's realm was devalued and woman's voice rarely heard in public? How does the male author behind the voice reveal himself to readers, and how do our glimpses of him affect our experience of the novel? Does it matter if the woman he has created is believable as a woman? Why does "she" inevitably rail against the perfidy of men? Kahn maintains that the answers to such questions lie in the nature of "narrative transvestism" -her term for the device through which a male author directs the reader's interpretation by temporarily abandoning himself to a culturally defined female voice and sensibility and then reasserting his male voice. In her innovative readings of key eighteenth-century English novels, Kahn draws upon a range of contemporary critical approaches. Lucid and witty, Narrative Transvestism will serve as a model of analysis for readers interested in issues of gender in narrative, including feminist theorists, students and scholars of the eighteenth-century novel, and critics interested in the applications of psychoanalysis to literature.

Every year the ant colony of a tiny island are forced to hand over their midsummer grain to a marauding band of grasshoppers, led by the evil Hopper (voiced by Kevin Spacey). Worker ant Flik (Dave Foley) sets off to get help from the big city, where he mistakes a troupe of circus bugs for fierce warriors. After being fired by their ringmaster, P.T. Flea (John Ratzenberger), the bugs accompany Flik back to his home, thinking that he is a talent scout. When all becomes clear, they are less than happy at the prospect of fighting off Hopper and his gang!