American re-imagining of the 2010 Mexican horror film of the same name. The reclusive Parker family headed by ailing patriarch Frank (Bill Sage) have a dark and macabre family secret. While grieving for their mother, Iris (Ambyr Childers) and Rose (Julia Garner) are left to care for their father and younger brother Rory (Jack Gore) as well as take responsibility for attending to their horrific familial custom. As a storm hits the small town where the family live, a number of gruesome discoveries by the local authorities lead them to the door of the Parkers and ever closer to the ancestral secret they work so hard to maintain.

Tom Cruise plays Maverick, a young fighter pilot enrolled at Naval college, training with the most gifted flyers of his generation, and competing for the prestigious Top Gun award.

Maverick soon establishes himself as one of the best in his class, but his insistence on doing things his own way soon brings him into conflict with his superiors and his main student rival: Iceman.

Forever ranking as an 80's classic, Top Gun remains a high-octane adrenaline rush certain to take your breath away.

Americans rank crime among the most urgent of social concerns. Overflowing prisons and public outcry have led many to propose that the criminal justice system could control crime more effectively by focusing on dangerous offenders.

Recent social studies have suggested that serious criminality is highly concentrated and that high-rate offenders can be distinguished from others on the basis of prior criminal conduct, drug abuse, and employment record. Such studies urge judges to shift from rehabilitative sentencing to selective incapacitation, with longer prison sentences for convicted criminals who are deemed unusually dangerous. In response to these recommendations, some prosecutors' offices have established career criminal units designed to assure that repeat offenders will be prosecuted to the full measure of the law. Some police departments are experimenting with "perpetrator-oriented patrols" targeted on suspected high-rate offenders.

The authors of this major book in criminal jurisprudence describe and analyze the intellectual and social challenge posed to public officials by this new thrust in criminal justice policy. They develop a framework for evaluating policies that focus on dangerous offenders. They first examine the general issues that arise as society considers the benefits and risks of concentrating on a particular category of criminals. They then outline how that approach might work at each stage of the criminal justice system--sentencing, pretrial detention, prosecution, and investigation.

This cogently argued book provides much needed guidance on the crucial questions of whether sharpened attention to dangerous offenders is just, whether such a policy can be effective in managing the problem of crime, which applications seem particularly valuable, what the long-term risks to social institutions are, and what uncertainties must be monitored and resolved as the policy evolves.

The close of a century invites both retrospection and prognostication. As a period of transition, it also brings a sense of uncertainty, finality, and apocalypticism. These feelings stem from various events, such as political turmoil, scientific advancements, and social change. As might be expected, literature reflects such changes and the feelings they engender. But perhaps more surprisingly, children's literature is especially sensitive to such matters, and fiction for children often struggles with dark and unpleasant issues. This book examines fin de siecle tensions in 19th- and 20th-century children's literature from around the world. Each chapter is written by an expert contributor, and the volume ranges over a disparate variety of topics. These include poetry, series books, pacifist fiction, gender issues, religion and literature, eco-criticism, minority experiences, humor and the Holocaust, fantasy and science fiction, and computer culture. In exploring these issues in relation to children's literature, the contributors reveal the shifting nature of our values and the world in which we live. Global in nature, the chapters look at children's literature from such places as Germany, Holland, the United Kingdom, Australia, and the United States.

An award-winning journalist's investigation into Amazon's true impact on inequality. The market value of Amazon.com has exceeded one trillion dollars. In 2020, its annual revenue increased by over 100 billion dollars. As the company insinuates itself ever further into our lives, Alec MacGillis investigates how it is reshaping society. With empathy and breadth, he tells the stories of those who've thrived and struggled in this rapidly changing environment, and shows how Amazon has even become a force in Washington, DC. The result is an intimate account of contemporary capitalism: its drive to innovate, its dark, pitiless magic, and its remaking of our world with every click.

Libraries in the United States and Canada are facing similar challenges to their futures. Editors Susan Cleyle and Louise McGillis have pulled together an impressive list of contributors to look at the future of the profession and answer the question: is it time to turn off the lights and call it a day? Essays challenge the reader on five different topics: the Web, library as place, pushing to the desktop, certification, and the future of associations. Contributors were asked to think outside the box and take readers to places they may not have been before thus providing both LIS students and practicing librarians with innovative ways to position themselves to serve a future society that is information hungry.

This book offers a variety of approaches to children's literature from a postcolonial perspective that includes discussions of cultural appropriation, race theory, pedagogy as a colonialist activity, and multiculturalism. The eighteen essays divide into three sections: Theory, Colonialism, Postcolonialism. The first section sets the theoretical framework for postcolonial studies; essays here deal with issues of "otherness" and cultural difference, as well as the colonialist implications of pedagogic practice. These essays confront our relationships with the child and childhood as sites for the exertion of our authority and control. Section 2 presents discussions of the colonialist mind-set in children's and young adult texts from the turn of the century. Here works by writers of animal stories in Canada, the U.S. and Britain, works of early Australian colonialist literature, and Frances Hodgson Burnett's A Little Princess come under the scrutiny of our postmodern reading practices. Section 3 deals directly with contemporary texts for children that manifest both a postcolonial and a neo-colonial content. In this section, the longest in the book, we have studies of children's literature from Canada, Australia, Africa, the Caribbean, and the United States.

From creepy picture books to Harry Potter, Lemony Snicket, the Spiderwick Chronicles, and countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children s literature.

The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children s literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children s literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children s literature.

This collection examines the early intersection of the Gothic and children s literature and the contemporary manifestations of the gothic impulse, revealing that Gothic elements can, in fact, be traced in children s literature for as long as children have been reading.

From creepy picture books to Harry Potter to Lemony Snicket to the Spiderwick Chronicles to countless vampire series for young adult readers, fear has become a dominant mode of entertainment for young readers. The last two decades have seen an enormous growth in the critical study of two very different genres, the Gothic and children's literature.

The Gothic, concerned with the perverse and the forbidden, with adult sexuality and religious or metaphysical doubts and heresies, seems to represent everything that children's literature, as a genre, was designed to keep out. Indeed, this does seem to be very much the way that children's literature was marketed in the late eighteenth century, at exactly the same time that the Gothic was really taking off, written by the same women novelists who were responsible for the promotion of a safe and segregated children's literature.

Gothic elements can, in fact, be traced in children's literature for as long as children have been reading. This collection examines the early intersection of the Gothic and children's literature and the contemporary manifestations of the gothic impulse.

Voices of the Other offers a variety of approaches to children's literature that includes discussions of cultural appropriation, race theory, pedagogy as a colonialist activity, and multiculturalism. The 18 essays divide into three sections: Theory, Colonialism, and Postcolonialism. Section 1 sets the theoretical framework for postcolonial studies, while section 2 presents discussions of the colonialist mind-set in children's and young adult's texts from 1900 onward. Here, works by writers of animal stories in Canada, The US, and Britain, works of early Australian colonialist literature, and Burnett's A little Princess are scrutinized through postmodern readings. Section 3 deals directly with contemporary texts for children that manifest both a postcolonial and a neocolonial content, and features studies of children's literature from Canada, Australia, Africa, The Caribbean, and The United States.

"He Was Some Kind of a Man: Masculinities in the B Western" explores the construction and representation of masculinity in low-budget western movies made from the 1930s to the early 1950s. These films contained some of the mid-twentieth-century's most familiar names, especially for youngsters: cowboys such as Roy Rogers, Hopalong Cassidy, and Red Ryder. The first serious study of a body of films that was central to the youth of two generations, "He Was Some Kind of a Man" combines the author's childhood fascination with this genre with an interdisciplinary scholarly exploration of the films influence on modern views of masculinity.

McGillis argues that the masculinity offered by these films is less one-dimensional than it is plural, perhaps contrary to expectations. Their deeply conservative values are edged with transgressive desire, and they construct a male figure who does not fit into binary categories, such as insider/outsider or masculine/feminine. Particularly relevant is the author's discussion of George W. Bush as a cowboy and how his aspirations to cowboy ideals continue to shape American policy.

This engagingly written book will appeal to the general reader interested in film, westerns, and contemporary culture as well as to scholars in film studies, gender studies, children's literature, and auto/biography.

Horror set in a post-apocalyptic America that has been taken over by an ever-increasing army of vampires. Connor Paolo stars as Martin, a teenager who joins forces with vampire hunter Mister (Nick Damici) after his parents are killed by the marauding vampire forces. Together, the two set out to find a town where they have heard they will be safe - but does such a place really exist?

George MacDonald's AT THE BACK OF THE NORTH WIND has enticed critics since its publication in 1871. The unique blend of fairy tale atmosphere and social realism in this novel laid the groundwork for modern fantasy literature. In the novel, Little Diamond, a kind and precocious boy living in poverty, is befriended by the mysterious North Wind, who takes him on her nightly adventures. Written in intensely poetic language, AT THE BACK OF THE NORTH WIND transcends the genres of children's book or fairy tale. BEHIND THE BACK OF THE NORTH WIND includes 16 essays on this enigmatic and richly layered fantasy novel - with perspectives ranging from the influence of MacDonald's Christian worldview or the relation between fantasy and reality, to grappling with AT THE BACK OF THE NORTH WIND as children's literature. A variety of artist's illustrations are included, from editions published be-tween 1871 to 1988, visually reinforcing the imaginative impact MacDonald's classic story continues to have on readers. This collection of essays is designed as a companion volume to Broadview Press's critical edition of AT THE BACK OF THE NORTH WIND, also edited by Pennington and McGillis.