Miles Teller and Justin Chon star in this comedy written and directed by Jon Lucas and Scott Moore, screenwriters of 'The Hangover'. The night before the medical school interview that will determine his entire future, a promising college student is dragged out by his two oldest friends to celebrate his 21st birthday. But as one beer leads inevitably to another, the evening spirals into a grand misadventure of mayhem and debauchery that will have far-reaching effects for the whole trio.

This book offers a comprehensive framework for the study of moral panics. It provides an up-to-date overview of the history and development of the concept of panic, and discusses the key criticisms and debates that have stemmed from its use over the last four decades. While investigating the critical connections between crime reporting and panic development, Wright Monod also highlights the overall importance of social context, and social theory, for understanding episodes of moral panic. Two case studies - one on murdering teens, and the other on gangs and guns - are explored to demonstrate the efficacy of the framework, and five research phases for panic study are extensively analysed. Drawing on the nature of sensationalist media coverage, and considering the impact of new media ecosystems in panic development, this innovative study considers the shape of the field of moral panic scholarship today and, crucially, the directions in which its study is heading. This is an informed and original book which will appeal to scholars of risk, deviance, and criminal justice.

The child has existed in cinema since the Lumiere Brothers filmed their babies having messy meals in Lyons, but it is only quite recently that scholars have paid serious attention to her/his presence on screen. Scholarly discussion is now of the highest quality and of interest to anyone concerned not only with the extent to which adult cultural conversations invoke the figure of the child, but also to those interested in exploring how film cultures can shift questions of agency and experience in relation to subjectivity. Childhood and Nation in World Cinema recognizes that the range of films and scholarship is now sufficiently extensive to invoke the world cinema mantra of pluri-vocal and pluri-central attention and interpretation. At the same time, the importance of the child in figuring ideas of nationhood is an undiminished tic in adult cultural and social consciousness. Either the child on film provokes claims on the nation or the nation claims the child. Given the waning star of national film studies, and the widely held and serious concerns over the status of the nation as a meaningful cultural unit, the point here is not to assume some extraordinary pre-social geopolitical empathy of child and political entity. Rather, the present collection observes how and why and whether the cinematic child is indeed aligned to concepts of modern nationhood, to concerns of the State, and to geo-political organizational themes and precepts.

In this, the first full-length treatment of the child in Spanish cinema, Sarah Wright explores the ways that the cinematic child comes to represent 'prosthetic memory'. The central theme of the child and the monster is used to examine the relationship of the self to the past, and to cinema. Focusing on the films from the 1950s to the present day, the book explores religious films, musicals, 'art-house horror', science fiction, social realism and fantasy in Spanish film and includes reference to Erice's The Spirit of The Beehive, del Toro's Pan's Labyrinth, Manas's El Bola and the Marisol films. The book draws on a century of filmmaking in Spain and also intersects with recent revelations concerning the horrors of the Spanish past. The child is a potent motif for the loss of historical memory and for its recuperation through cinema. This book is suitable for scholars and undergraduates working in the area of Spanish cinema, Spanish cultural studies, and cinema studies.

Love yourself by telling your story. Our stories anchor us as we experience the vicissitudes of life. They strengthen us, inspire us, and encourage us as we grow older. This book offers Jesus' story as a real-life mirror to our own stories, ultimately making God's story, our story, and our story, God's story. From Begotten, to Suffering Death, to Glory, and the Life of the World to Come, the author uses spiritual reflections, poetry, and the Nicene Creed to give new meaning to real-life circumstances of identity, pain, family life, dealing with depression, and ultimate healing. Becoming Who I Am encourages us to embrace and tell our whole stories and to discover our divine capacity for true life transformation and joy.

DIGNITY is a transformative set of ideas to help individuals and communities identify and address barriers to authenticity. The author was inspired by a question in the Episcopal Baptismal covenant: Will you strive to respect the dignity of every human being? DIGNITY is seven actionable tenets (diversity, identity, growth, nurture, integrity, transparency, and yield) with which we can identify our purpose, articulate our aspirations, and equip ourselves and others for both the opportunities and challenges of honoring this covenant. They are prompts to be reflective about who we are and what we value. This practical guide will help the spiritual community bridge the gap between where we are, and where we want to be. For we know that "you can develop a healthy and robust community that lives right with God and enjoy its results only if you do the hard work of getting along with each other, treating each other with dignity and honor" (James 3:17).

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.

In this, the first full-length treatment of the child in Spanish cinema, Sarah Wright explores the ways that the cinematic child comes to represent 'prosthetic memory'. The central theme of the child and the monster is used to examine the relationship of the self to the past, and to cinema. Concentrating on films from the 1950s to the present day, the book explores religious films, musicals, 'art-house horror', science-fiction, social realism and fantasy. It includes reference to Erice's The Spirit of The Beehive, del Toro's Pan's Labyrinth, Manas's El Bola and the Marisol films. The book also draws on a century of filmmaking in Spain and intersects with recent revelations concerning the horrors of the Spanish past. The child is a potent motif for the loss of historical memory and for its recuperation through cinema. This book is suitable for scholars and undergraduates working in the areas of Spanish cinema, Spanish cultural studies and cinema studies. -- .

Lorca, icon and polymath in all his manifestations. A Companion to Federico Garcia Lorca provides a clear, critical appraisal of the issues and debates surrounding the work of Spain's most celebrated poet and dramatist. It considers past and current approaches to the study of Lorca, and also suggests new directions for further investigation. An introduction on the often contentious subject of Lorca's biography is followed by five chapters - poetry, theatre, music, drawing and cinema - which togetheracknowledge the polymath in Lorca. A further three chapters - religion, gender and sexuality, and politics - complete the volume by covering important thematic concerns across a number of texts, concerns which must be considered in the context of the iconic status that Lorca has acquired and against the background of the cultural shifts affecting his readership. The Companion is a testament to Lorca's enduring appeal and, through its explication oftexts and investigation of the man, demonstrates just why he continues, and should continue, to attract scholarly interest. FEDERICO BONADDIO lectures in Modern Spanish Studies at King's College London. CONTRIBUTORS: FEDERICO BONADDIO, JACQUELINE COCKBURN, NIGEL DENNIS, CHRISTOPHER MAURER, ALBERTO MIRA, ANTONIO MONEGAL, CHRIS PERRIAM, XON DE ROS, ERIC SOUTHWORTH, D. GARETH WALTERS, SARAH WRIGHT

This accessible guide explores how our brains react to stress and offers a fresh perspective on how we define "trauma." Probing how the words we use can influence our understanding of distress, this text focuses on expanding awareness of excess stress and reducing judgment of its potential impact on relationships and day-to-day life. Helpfully split into three parts, the book introduces the terms "cortisprinkled," "cortisaturated," and "cortisoaked" and provides a rationale for why these states of brain occur. The role of culture and society are highlighted, and an in-depth focus on coping and offering support to others is presented. Whether caused by sexual assault, social rejection, abuse, the taboo of sexuality, disadvantaged status, or other difficulties, chapters detail specific coping skills and step-by-step strategies to deal with a variety of stress responses. Advice is offered on reconnecting with sexuality, phrasing difficult questions, and ways to offer validation, with concrete recommendations on incorporating healthier practices into everyday life. Both metaphor and real-world vignettes are interwoven throughout, making Redefining Trauma an essential and understandable resource for therapists and their clients, parents and support givers, and anyone looking to develop practical, informed methods for dealing with stress and trauma and reclaim life with intention.

This accessible guide explores how our brains react to stress and offers a fresh perspective on how we define "trauma." Probing how the words we use can influence our understanding of distress, this text focuses on expanding awareness of excess stress and reducing judgment of its potential impact on relationships and day-to-day life. Helpfully split into three parts, the book introduces the terms "cortisprinkled," "cortisaturated," and "cortisoaked" and provides a rationale for why these states of brain occur. The role of culture and society are highlighted, and an in-depth focus on coping and offering support to others is presented. Whether caused by sexual assault, social rejection, abuse, the taboo of sexuality, disadvantaged status, or other difficulties, chapters detail specific coping skills and step-by-step strategies to deal with a variety of stress responses. Advice is offered on reconnecting with sexuality, phrasing difficult questions, and ways to offer validation, with concrete recommendations on incorporating healthier practices into everyday life. Both metaphor and real-world vignettes are interwoven throughout, making Redefining Trauma an essential and understandable resource for therapists and their clients, parents and support givers, and anyone looking to develop practical, informed methods for dealing with stress and trauma and reclaim life with intention.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

An important contribution to the understanding of the theatrical output of major figure of Spanish literary canon. Drawing on anthropology, psychoanalysis, and literary theory, this book uses the image of the trickster to argue for a fresh and original reading of Garcia Lorca's plays, highlighting androgyny, male fantasy, masochism, masqueradeand the carnivalesque. The study includes detailed textual analyses of Amor de Don Perlimplin con Belisa en su jardin, Asi que pasan cinco anos and El publico, as well as extensive examination of La zapatera prodigiosa and Bodas de sangre; in addition it makes reference to the lesser known El sueno de la vida, Retablillo de Don Cristobal, Dragon and El loco y la loca, together with a relevant selection of Garcia Lorca's drawings and prose. Dr SARAH WRIGHT lectures in Hispanic Studies at the University of Hull.