The child in many post-apocalyptic films occupies a unique space within the narrative, a space that oscillates between death and destruction, faith and hope. The Child in Post-Apocalyptic Cinema interrogates notions of the child as a symbol of futurity and also loss. By exploring the ways children function discursively within a dystopian framework we may better understand how and why traditional notions of childhood are repeatedly tethered to sites of adult conflict and disaster, a connection that often functions to reaffirm the "rightness" of past systems of social order. This collection features critical articles that explore the role of the child character in post-apocalyptic cinema, including classic, recent, and international films, approached from a variety of theoretical, methodological, and cultural perspectives.

In 1844, seven widows dared to cast ballots in an election in Canada West, a display of feminist effrontery that was quickly punished: the government struck a law excluding women from the vote. It would be seven decades before women regained voting rights in Ontario. Our Voices Must Be Heard explores Ontario's suffrage history, examining its ideals and failings, its daring supporters and thunderous enemies, and its blind spots on matters of race and class. It looks at how and why suffragists from around the province joined an international movement they called "the great cause." This is the second volume in the seven-part Women's Suffrage and the Struggle for Democracy series.