In the last forty years philosophy of education has become established as a distinct area of philosophical study concerned within educational thought and practice. Twentieth century analytic philosophy prompted the emergence of a philosophy of education as a separate subject. The work collected here represents the major ideas and arguments which have come to characterise philosophy of education. This comprehensive set includes work from the perspectives of Marxism, phenomenology, feminist theory, critical theory and others. The individual volumes cover: * philosophy and education * education and human being * society and education * problems of educational content and practice. The featured articles map the most important writings within the analytic and intersecting traditions, and the set presents an influential and essential body of work for researchers in the philosophy of education, the field of educational studies and educationally-oriented policy studies.

The milestone 100th issue of Camera Obscura recognizes the work and legacy of Belgian filmmaker Chantal Akerman (1950–2015). Arguably the most important figure in feminist film culture, Akerman is central to Camera Obscura's own legacy, and her film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles was covered in one of the first issues of the journal. The contributors to this special issue return to Akerman's work, illuminating her films, writings, and installations through new criticism and discussion. The issue includes a rich collection of newly published photographs, scholarly essays by leading Akerman scholars, a filmography and installation list, and rare interviews with Akerman's close collaborators. Contributors. Claire Atherton, Janet Bergstrom, Kelley Conway, Sandy Flitterman-Lewis, Ute Holl, Heike Klippel, Eva Kuhn, Matias Lavin, Alisa Lebow, Brenda Longfellow, Babette Mangolte, Ivone Margulies, Michael Mazière, Eva Meyer, Sandra Percival, Jane Stein, Cécile Tourneur, Maureen Turim, Sonia Wieder-Atherton, Patricia White

This volume introduces a new conception of political education and new roles for headteachers and parents in the creation of a more democratic educational system. The book proposes curbing the power of teachers, including headteachers, stripping parents of their rights, and making political education the keystone of education. It considers what kind of educational strategies would be appropriate to help move a society like our own towards greater democracy, in the light of a co-ordinated set of proposals about the democratic organization of political decision-making, and the development of democratic attitudes, notably fraternity. All this is underpinned by a radical analysis of basic democratic principles and assumptions, and a fundamental critique of the power-sharing machinery of such contemporary democratic societies as the UK and USA.

This volume introduces a new conception of political education and new roles for headteachers and parents in the creation of a more democratic educational system. The book proposes curbing the power of teachers, including headteachers, stripping parents of their rights, and making political education the keystone of education. It considers what kind of educational strategies would be appropriate to help move a society like our own towards greater democracy, in the light of a co-ordinated set of proposals about the democratic organization of political decision-making, and the development of democratic attitudes, notably fraternity. All this is underpinned by a radical analysis of basic democratic principles and assumptions, and a fundamental critique of the power-sharing machinery of such contemporary democratic societies as the UK and USA.

Contents:
Introduction 1.Good Teaching 2.Truth and Liberal Education Liberal Education and Vocational Preparation 3.Paul Hirst's Structure, or The Uses and Abuses of an Overworked Concept The Curriculum: The Timeless and the Timebound Curriculum and the Mirror of Knowledge 4.Moral and Religious Education: Hirst's Perception of Their Scope and Relationship 5.Wittgenstein's Speculative Aesthetics in its Ethical Context The Arts, Well-being and Education 6.Education, Knowledge and Practices

The Film Experience offers a comprehensive introduction to the art, language, industry, culture, and experience of the movies -with new digital tools to bring that experience to life and help students master course material. The text highlights how formal elements like cinematography, editing, and sound can be analyzed and interpreted within the context of a film as a whole. With superior tools for reading and writing about film, as well as unparalleled coverage of diversity, inclusion, and non-mainstream filmmaking traditions. The most robust introduction to film on the market, the Sixth Edition emphasizes film technology through expanded coverage of animation and a new Technology in Action feature, which puts the evolving technology of film in historical context. The Film Experience is also now available with LaunchPad, Macmillan's customizable online course space, which includes the full e-book, LearningCurve adaptive quizzing, a rich array of video activities aligned with the text, and more.

The 1940 film adaptation of Daphne du Maurier's gothic romance Rebecca begins by echoing the novel's famous opening line, 'Last night I dreamt I went to Manderley again.' Patricia White takes the theme of return as her starting point for an exploration of the film's enduring power. Drawing on archival research, she shows how the production and reception history of Rebecca, the first fruit of the collaboration between Hollywood movie producer David O. Selznick and British director Alfred Hitchcock, is marked by the traces of women's contributions. White provides a rich analysis of the film, addressing the gap between perception and reality that is constantly in play in the gothic romance, and highlighting the queer erotics circulating around 'I' (the heroine), Mrs Danvers, and the dead but ever-present Rebecca. Her discussion of the film's afterlives emphasizes the lasting aesthetic impact of this dark masterpiece of memory and desire, while her attention to its remakes and sequels speaks to the ongoing relevance of its vision of gender and power.

In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

"White writes with considerable flair, and her arguments are alwaysinteresting..." -- Choice

"Uncovering a massive trove of what shecalls 'lesbian representability' -- images of lesbian desire, love and life -- inmainstream movies, White provides an insightful look at classic American films....her myriad examples and finely wrought arguments prove both convincing andengaging." -- Publishers Weekly

"Conspiratorial and witty, Uninvited is a mischievous invitation to dissect classical cinema by someone whowields the razor with glee." -- OUT Magazine

Lesbian characters, stories, and images were barred from onscreen depiction in Hollywood films from the1930s to the 1960s, together with all forms of "sex perversion." Looking at the lureof some of the great female stars and at the visual coding of supporting actresses, the book identifies lesbian spectatorial strategies.

Kathleen and James join Mommy for a fun shopping jaunt to the toy store. When Mommy explains that it's time to go home, these two children refuse to follow her instruction. What the children don't know is that Oogie Boogie, a kind furry creature, lives in the toy store. Each night, he emerges from a closet in the back of the toy store. He plays with the toys and enjoys many adventures, but Oogie returns to the closet before sunrise. When Oogie learns that Kathleen and James disobey Mommy, he sets out to teach them a lesson about obedience and respect that they shall not soon forget.

BAND-AIDS FOR PEACE has something for everyone's pain. It is not all sad or all bad. It tells about realistic events from the cradle to the grave. There are events that will make you laugh, such as the sassy old lady in "Don't Mock Me Because I Am Old" and some that will make you cry, such as understanding the reasons in the "Nightmare of Birth Defects Through the Eyes of a Baby." No one ever thinks of how the baby must feel who is born with birth defects. Every passage will leave you with a lasting impression. Some of the events are true stories of events witnessed by this author that left an impression of how one man can be inhuman to another. BAND-AIDS FOR PEACE has something for everyone's pain. Many of the events have a poetic swing to them, but every event tells a story. I attempted to give a message with each selection. The selections are in no chronological order. Yet, they span decades in a life of both joy and turmoil. You will find teens who see their parents as old and out of date, babies in pain crying for answers, and even men in prison who seek relief from the guilt they carry inside. You will see the struggle with answers when a loved one passes on and the joy of a couple in love. You will see images captured during Hurricanes Katrina and Rita that devastated the Gulf Coast region and left people homeless and crying for answers. Then you will look into several religious selections for persons involved in the church. BAND-AIDS FOR PEACE attempts to both enlighten the reader and help to stimulate the mind in a search for more answers about oneself.

BAND-AIDS FOR PEACE has something for everyone's pain. It is not all sad or all bad. It tells about realistic events from the cradle to the grave. There are events that will make you laugh, such as the sassy old lady in "Don't Mock Me Because I Am Old" and some that will make you cry, such as understanding the reasons in the "Nightmare of Birth Defects Through the Eyes of a Baby." No one ever thinks of how the baby must feel who is born with birth defects. Every passage will leave you with a lasting impression. Some of the events are true stories of events witnessed by this author that left an impression of how one man can be inhuman to another. BAND-AIDS FOR PEACE has something for everyone's pain. Many of the events have a poetic swing to them, but every event tells a story. I attempted to give a message with each selection. The selections are in no chronological order. Yet, they span decades in a life of both joy and turmoil. You will find teens who see their parents as old and out of date, babies in pain crying for answers, and even men in prison who seek relief from the guilt they carry inside. You will see the struggle with answers when a loved one passes on and the joy of a couple in love. You will see images captured during Hurricanes Katrina and Rita that devastated the Gulf Coast region and left people homeless and crying for answers. Then you will look into several religious selections for persons involved in the church. BAND-AIDS FOR PEACE attempts to both enlighten the reader and help to stimulate the mind in a search for more answers about oneself.

The new edition of this popular textbook offers a fresh approach to the study of film, combining print and digital media to enhance the learning experience. The Film Experience enables students to link their personal experiences of watching movies to a greater overall understanding of the medium's full scope, covering everything from editing to cinematography to narrative genres. The Film Experience can also be purchased with the breakthrough online resource, LaunchPad, which offers innovative media content, curated and organised for easy assignability. LaunchPad's intuitive interface presents quizzing, flashcards, animations and much more to make learning actively engaging.

In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women's Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture.

This volume explores some of the global challenges and possible solutions for transcultural health and social care, and includes a selection of papers that were presented at the 2nd European Transcultural Nursing Association International Conference, in June 2011. This collection explores some of the challenges and possible solutions from the perspectives of various countries regarding promoting transcultural health and social care, including Ireland, Turkey, Strasbourg, the Philippines, the Netherlands, Sweden and Australia. As outlined in the papers included, the provision of transculturally competent care is challenging and requires knowledgeable, skilled and culturally sensitive health and social care professionals. The delivery of culturally competent care requires a commitment from health and social care services, professionals working within these services, and institutes of education responsible for educating healthcare professionals to understand and be responsive to the needs of culturally diverse patients. Learned behaviour and deeply rooted values must be challenged to address unwitting prejudices and stereotyping. Attention should focus on creating an environment of trust where critical reflection occurs, blame is avoided, risk managed and new ideas developed, tested and evaluated.