Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Theodore Dreiser's dissection of the American dream, An American Tragedy, was hailed as the greatest novel of its generation. Now a classic of American literature, the story is one to which Hollywood has repeatedly returned.Hollywood's obsession with this tale of American greed, justice, religion and sexual hypocrisy stretches across the history of cinema. Some of cinema's greatest directors - Sergei Eisenstein, Josef von Sternberg and George Stevens - have attempted to bring this classic story to the screen. Subsequently, both Jean-Luc Godard and Woody Allen have returned to the story and to these earlier adaptations.Hollywood's American Tragedies is the first detailed study of this extraordinary sequence of adaptations. What it reveals is a history of Hollywood - from its politics to its cinematography - and, much deeper, of American culture and the difficulty of telling an American tragedy in the land of the American dream.

In these eleven essays scholars from diverse disciplines address the argument, reception, and implications of "The""Dialectic of Sex" and make a compelling, critical case for its contemporary salience.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

An exploration of high-profile women, contemporary and historical, real and fictional, who commit violence against men, this book was originally inspired by the Bobbitt case and reactions to it. In essays on Lindy Chamberlain (the "dingo baby" case), Myra Hindley, Winnie Mandela, Lorena Bobbitt, Rosemary West, Ruth Ellis and "the Brookside Two", among others, the contributors tease out the blurred boundaries between myth and reality which always surround violent women and attempt to demolish the old either/or explanations of powerless victim or evil demon.

At a time when the expanded projection of US political, military, economic and cultural power draws intensified global concern, understanding how that country understands itself seems more important than ever. This collection of new critical essays tackles this old problem in a new way, by examining some of the hundreds of US films that announce themselves as titularly 'American'. From early travelogues to contemporary comedies, national nomination has been an abiding characteristic of American motion pictures, heading the work of Porter, Guy-Blache, DeMille, Capra, Sternberg, Vidor, Minnelli and Mankiewicz. More recently, George Lucas, Paul Schrader, John Landis and Edward James Olmos have made their own contributions to Hollywood's Americana. What does this national branding signify? Which versions of Americanism are valorized, and which marginalized or excluded? Out of which social and historical contexts do they emerge, and for and by whom are they constructed? Edited by Mandy Merck, the collection contains detailed analyses of such films as The Vanishing American, American Madness, An American in Paris, American Graffiti, American Gigolo, American Pie and many more.

At a time when the expanded projection of US political, military, economic and cultural power draws intensified global concern, understanding how that country understands itself seems more important than ever.

This collection of new critical essays tackles this old problem in a new way, by examining some of the hundreds of US films that announce themselves as titularly 'American'. From early travelogues to contemporary comedies, national nomination has been an abiding characteristic of American motion pictures, heading the work of Porter, Guy-Blache, DeMille, Capra, Sternberg, Vidor, Minnelli and Mankiewicz. More recently, George Lucas, Paul Schrader, John Landis and Edward James Olmos have made their own contributions to Hollywood's Americana.

What does this national branding signify? Which versions of Americanism are valorized, and which marginalized or excluded? Out of which social and historical contexts do they emerge, and for and by whom are they constructed?

Edited by Mandy Merck, the collection contains detailed analyses of such films as The Vanishing American, American Madness, An American in Paris, American Graffiti, American Gigolo, American Pie and many more.

First published in 1993. Routledge is an imprint of Taylor and Francis, an informa company.

""In Your Face" is an acrobat of a book--agile, supple, daring, showy, and brave. . . . a strikingly imaginative text. . . that rarest of things, an academic text that can be read for pleasure as well as illumination."
--"New Formations"

"Merck launches into a complex analysis of the displacement of sex[uality] into representations of the face in a range of texts...a dazzling kaleidoscopic display."
--"Journal of American Studies"

At a time when "sexy" can be an adjective for anything, when sexual awareness is declared to be advancing faster in months than in the past half century, and when pundits warn of sexual overload, the actual representation of sex is still deemed confrontational, aggressive, "in your face." While critics accuse the academy of an obsession with sexuality, they also complain that nothing that appears to refer to sex really does.

In readings ranging across film, drama, opera, fine art, and critical theory, Mandy Merck considers these phenomena as well as the role of the dog in anti-porn propaganda, the unacknowledged significance of the lesbian hand, and the early retirement of the phallus. Other topics include the relationship of women's tennis and prostitution, the gendering of the wild and the tame in the age of AIDS, and the sexlessness of postmodern criticism. In Your Face ends with the face and its alleged desecration by fellatio. Germaine Greer's condemnation of Bill Clinton for "fucking the faces of little girls" is examined in the light of one of Monica Lewinsky's endearments for the President--"fuckface."

In a country whose last great Presidential scandal revolved around a key witness known only as "Deep Throat" and whose currentChief Executive works in the "Oral Office," giving head is going down in history. Analyzing the strange relationship of Linda Lovelace, Camille Paglia, and Paul de Man, In Your Face concludes by considering desire and disgust in high and low places.

"The Sexual Subject" brings together writing on sexuality which has appeared in "Screen" over the past two decades. It reflects the journal's continuing engagement with questions of sexuality and signification in the cinema, an engagement which has had a profound influence on the development of academic study of film and on alternative film and video practice.
The collection opens with Laura Mulvey's classic "Visual Pleasure and Narrative Cinema" with its conjunction of semiotics and psychoanalysis, the critical approach which is most closely associated with "Screen"'s rise to international prominence. The Reader then goes on to explore the particular questions and debates which that conjunction provoked: arguments around pornography and the representation of the body; questions of the representation of femininity and masculinity, of the female spectator, and of the social subject.
Many of the writings in "The Sexual Subject" have become indispensable texts within the study of film. The purpose of the collection is not only to make the articles available to a wider readership, and to a new generation, but also to pose new conjunctions, making connections between debates and inquiries which spanned two crucial decades of film theory.
"The Sexual Subject" is intended not only for all those with an interest in film and film theory, but for anyone with a commitment to cultural theory, theories of representation, and questions of sexuality and gender.
Contributors: Homi Bhabha, Edward Buscombe, Mary Ann Doane, Richard Dyer, John Ellis, Christine Gledhill, Stephen Heath, Claire Johnston, Annette Kuhn, Alan Lovell, Laura Mulvey, Steve Neale, Claire Pajaczowska, GriseldaPollock, Jackie Stacey, Leslie Stern, Paul Willemen, Christopher Williams, Dugald Williamson.

""In Your Face" is an acrobat of a book--agile, supple, daring, showy, and brave. . . . a strikingly imaginative text. . . that rarest of things, an academic text that can be read for pleasure as well as illumination."
--"New Formations"

"Merck launches into a complex analysis of the displacement of sex[uality] into representations of the face in a range of texts...a dazzling kaleidoscopic display."
--"Journal of American Studies"

At a time when "sexy" can be an adjective for anything, when sexual awareness is declared to be advancing faster in months than in the past half century, and when pundits warn of sexual overload, the actual representation of sex is still deemed confrontational, aggressive, "in your face." While critics accuse the academy of an obsession with sexuality, they also complain that nothing that appears to refer to sex really does.

In readings ranging across film, drama, opera, fine art, and critical theory, Mandy Merck considers these phenomena as well as the role of the dog in anti-porn propaganda, the unacknowledged significance of the lesbian hand, and the early retirement of the phallus. Other topics include the relationship of women's tennis and prostitution, the gendering of the wild and the tame in the age of AIDS, and the sexlessness of postmodern criticism. In Your Face ends with the face and its alleged desecration by fellatio. Germaine Greer's condemnation of Bill Clinton for "fucking the faces of little girls" is examined in the light of one of Monica Lewinsky's endearments for the President--"fuckface."

In a country whose last great Presidential scandal revolved around a key witness known only as "Deep Throat" and whose currentChief Executive works in the "Oral Office," giving head is going down in history. Analyzing the strange relationship of Linda Lovelace, Camille Paglia, and Paul de Man, In Your Face concludes by considering desire and disgust in high and low places.

In these eleven essays scholars from diverse disciplines address the argument, reception, and implications of The Dialectic of Sex and make a compelling, critical case for its contemporary salience.

Common factors that lead to treatment failure in head and neck cancer are the lack of tumour oxygenation, the accelerated division of cancer cells during treatment, and radioresistance. These tumour-related challenges and possible ways to overcome them are covered in this book, authored by three medical physicists and a clinical oncologist who explain how different radiobiological findings have led to the development of various treatment techniques for head and neck cancer. Novel treatment techniques as supported by current scientific evidence are comprehensively explored, as well as the major challenges that arise in the retreatment of patients who have already undergone a form of radiotherapy for primary head and neck cancer. Features: Uses an interdisciplinary approach, encompassing clinical aspects of radiotherapy, radiation biology, and medical physics Applies content by relating all radiobiological characteristics to their respective clinical implications Explains the radiobiological rationale for all previous and current clinical trials for head and neck cancer

"Veterinary Forensics, Second Edition" is a practical reference on applying veterinary forensic findings in animal cruelty cases. Now providing a greater focus on findings in animals, the second edition continues to offer guidance with more detailed information on crime scene investigation, forensic testing and findings, handling evidence, and testifying in court. Key changes to the new edition include new chapters on abuse in large animals, poultry, and birds; a standalone chapter on entomology; a new section on large scale cruelty investigation; an expanded section on pain and suffering; more pathology information; and more photos, forms, and information throughout.

Logs and workbooks from the book are available on a companion website at www.wiley.com/go/vetforensics, allowing readers to download, customize, and use these forms in forensics investigations. "Veterinary Forensics" is an essential resource for veterinarians, pathologists, attorneys, and investigators working on animal abuse cases.

Has Queer Theory "grown out" of Feminism - in both senses? If it has, is that process a coming-out story? Despite a parallel chronology, with 1969 marking a key moment for both movements, and despite all their common and mutual debts, the political differences with which both are all too familiar affect their own relationship as well. One difference may be generational, with the 70s women's movement acting as mother or midwife to the 90s generation of queers; another may be between the overlapping but distinct debates of gender and sexuality; a third between the different situations of men and women. But do these views themselves create arbitrary and caricatural oppositions between two bodies of ideas that should remain vitally connected? This book opens up a number of original and challenging approaches to these questions, with contributors (from the fields of literature, philosophy, film studies, anthropology and psychoanalysis) including Emily Apter, Trevor Hope, Biddy Martin and Gayle Rubin.

Challenging the study of both celebrity and the cinema, Mandy Merck argues that modern fame and film melodrama are part of the same worldview, one that cannot resolve the relation of personal worth to social esteem. Tracing the history of this conundrum back to the philosophy of the 17th century and the theatre of the 18th, she demonstrates its convergence in stage melodrama and its intensification in the Hollywood star system. Are today’s celebrities worth our attention? In that demand for judgement and the hope for its visual guidance, the melodramatic imagination survives – permeating not only fiction film, but documentary, the artist’s film, and our self-exhibition on social media. Examining a range of classical and contemporary films from Charlie Chaplin's City Lights (1931) to Laura Poitras’s Citizenfour (2014) , the many remakes of A Star Is Born, the compulsory exhibitionism of political celebrity and the unmasking of whistle-blowers, Merck illustrates the ways in which the cinema constantly restages the moral evaluation of prominent individuals, whether they are actors, artists, politicians or activists.