Spanning more than a century of photography and film, "Hard to Imagine" is the first visual chronicle of the evolution of gay male image culture, from the canonical works of "art" photography and cinema to the private and often highly explicit productions of amateurs. This comprehensive work explores a vast, eclectic tradition in its totality, analyzing the aesthetics of the visual imagery, its production, circulation, and consumption, and broad social and legal implications.

The authors detail the nuanced history of Canadian cult classic Montreal main. It also considers the politics and aesthetics of the trope of intergenerational love that the filmmakers so brazenly probed.

Jonathan Reid Sevigny was born and raised in Cowansville, in the Eastern Townships of Quebec, a culture so unique and full of rare and local treasures that become significant to those who grew up there but perhaps seem completely foreign and often tacky to outsiders. It isn't the most glamorous town, nor does it have any particular sites or landmarks that one would go out of his / her way to visit. In Sweetsburg Sevigny is attempting to use his Quebecois boyhood as an archetype for the relationship between the individual, the hometown, and the bewildering beauty that connects the two. As adults, we tend to romanticize our youth, we try and remember the best things about our coming of age, but we're also scarred by certain events which we wish we could go back and change; fight back, kiss back. At a glance Sevigny's depictions of Cowansville seem crisply utopian, a neat little playground of nice boys and girls. However, a closer look reveals their human forms are corrupt, splayed, eaten, and absorbed by animal fraternities, by swords of ritualistic death, by minute veils of the macrocosmic sky in all its unknown intricacies. The scene becomes otherworldly in the kid's play, pushing us to remember that what is around and inside is both innocent and dirty, violent and soft, and constantly revised.

For more than twenty years, film critic, teacher, activist, and fan Thomas Waugh has been writing about queer movies. As a member of the "Jump Cut" collective and contributor to the Toronto-based gay newspaper the" Body Politic," he emerged in the late 1970s as a pioneer in gay film theory and criticism, and over the next two decades solidified his reputation as one of the most important and influential gay film critics. "The Fruit Machine"--a collection of Waugh's reviews and articles originally published in gay community tabloids, academic journals, and anthologies--charts the emergence and maturation of Waugh's critical sensibilities while lending an important historical perspective to the growth of film theory and criticism as well as queer moviemaking.
In this wide-ranging anthology Waugh touches on some of the great films of the gay canon, from "Taxi zum Klo "to "Kiss of the Spider Woman." He also discusses obscure guilty pleasures like "Born a Man . . . Let Me Die a Woman," unexpectedly rich movies like "Porky's" and "Caligula," filmmakers such as Fassbinder and Eisenstein, and film personalities from Montgomery Clift to Patty Duke. Emerging from the gay liberation movement of the 1970s, Waugh traverses crises from censorship to AIDS, tackling mainstream potboilers along with art movies, documentaries, and avant-garde erotic videos. In these personal perspectives on the evolving cinematic landscape, his words oscillate from anger and passion to wry wit and irony. With fifty-nine rare film stills and personal photographs and an introduction by celebrated gay filmmaker John Greyson, this volume demonstrates that the movie camera has been "the" fruit machine par excellence.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.This collection reveals the history of English common law and Empire law in a vastly changing world of British expansion. Dominating the legal field is the Commentaries of the Law of England by Sir William Blackstone, which first appeared in 1765. Reference works such as almanacs and catalogues continue to educate us by revealing the day-to-day workings of society.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>National Library of Scotland<ESTCID>T229378<Notes>Dated at head of the drop-head titlepage: July 11. 1800.<imprintFull> Edinburgh, 1800]. <collation>37, 1]p.; 4

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

"The Right to Play Oneself" collects for the first time Thomas Waugh's essays on the politics, history, and aesthetics of documentary film, written between 1974 and 2008. The title, inspired by Walter Benjamin's and Joris Ivens's manifestos of "committed" documentary from the 19 0s, reflects the book's theme of the political potential of documentary for representing the democratic performance of citizens and artists.
Waugh analyzes an eclectic international selection of films and issues from the 1920s to the present day. The essays provide a transcultural focus, moving from documentaries of the industrialized societies of North America and Europe to those of 1980s India and addressing such canonical directors as Dziga Vertov, Emile de Antonio, Barbara Hammer, Rosa von Praunheim, and Anand Patwardhan. Woven through the volume is the relationship of the documentary with the history of the Left, including discussions of LGBT documentary pioneers and the firebrand collectives that changed the history of documentary, such as Challenge for Change and ACT UP's Women's Collective.
Together with the introduction by the author, Waugh's essays advance a defiantly and persuasively personal point of view on the history and significance of documentary film.