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Book SynopsisOn May 1st, 1840, the United Kingdom issued the first postage stamps in the world: the Penny Black and Two Pence Blue. Other countries soon followed: United States (1847), France and Belgium (1849), Spain, Switzerland, Austria and Prussia (1850), and many more in the ensuing years. In Cuba, then a colony of Spain, the first stamp was used in 1855 and it depicted the image of Queen Isabella II, the sovereign of the Spanish Empire at the time.In 1899, after Cuba had become separated from Spain and was under US occupation, the first set of Cuban stamps (printed in the US) included an image of Christopher Columbus, who arrived on the island in 1492; a group of Cuban royal palm trees; the statue of an Indian woman representing the island; a rural scene featuring a field plowed by oxen; and a steamship, highlighting Cuba's lifeline to the rest of the world. Cuba was beginning to tell its own story on stamps. And that has been the practice ever since.As a result, finding Cuba-related images in Cuban postage stamps is to be expected and comes as no surprise to anyone. Much less known and studied is the fact that, from time to time, Cuba somehow shows up in foreign postage stamps as well as in so-called "cinderellas" (resembling stamps, but not issued for postal purposes). It also appears in the design of souvenir sheets outside of the stamps themselves and in the cachets printed on commemorative envelopes and postcards. This is a fascinating story in itself and the one told in this book for the first time.

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Book SynopsisTurn up the heat in your Millennial Lotería game nights with 10 extra-spicy cards that’ll make you LOL and blush at the same time. Add them to your Millennial Lotería collection, along with 10 extra playing boards and extra bitcoins, which totally make this expansion pack extra AF. This Millennial Lotería expansion pack is rated R and includes: • 10 new cards (includes 1 Shiny AF Card) • 10 extra game boards • 108 extra bitcoin tokens OMG Important Info: This expansion pack does not contain the full Millennial Loteríagame, which is sold separately. If you don't own it yet, make sure to add one to your cart. Like, right now!

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Book SynopsisIn Plenty and in Time of Need demonstrates how the unique history of Barbados has contributed to complex relations of national, gendered, and sexual identities, and how these identities are represented and interpreted on a global stage. As the most widespread manifestation of social commentary, the book uses music and performance to analyze the competing ideals and realities of the national culture. It details the histories of prominent musical artists, including the prolific Pan-Africanist calypsonian the Mighty Gabby, the world-renowned Merrymen, Soca Queen Alison Hinds, artist/activist Rupee, and international superstar Rihanna. Using these artists, the project analyzes how femininity, masculinity, and sexuality are put in service of Barbadian nationalism. By examining websites, blogs, and digital products of these artists in conversation with Barbadian tourism, the book re-examines the ways in which commodity, sexuality, gender performance, and diasporic consciousness undergird individual careers and national representations.Trade Review“A refreshingly vital work! As Barbados flexes its stance, situating itself in the contemporary world, Lia T. Bascomb provides one of the most engaging and enlightening published discussions on the meanings of this process. In Plenty and in Time of Need will be a go-to text for many years.” -- Curwen Best * author of The Popular Music and Entertainment Culture of Barbados: Pathways to Digital Culture *“Lia Bascomb’s In Plenty and In Time of Need is a necessary and powerful remix of performance studies, diaspora studies, studies of the nation, studies of migration and popular culture. Her remixes of critical theory, Caribbean intellectual traditions, discourses of the nation, post-independence and postcolonial conditions, along with gender and sexuality provide a powerful account of contemporary Black diasporic connection and performativity located in the geopolitics of Barbados but exceeding the geography of that place to reorient our thinking on the global flows of people, cultures and power.” -- Rinaldo Walcott * author of Queer Returns: Essays on Multiculturalism, Diaspora, and Black Studies *"This text is a well-conceived and articulated discussion of the ways in which history intertwine with contemporary cultural performances to construct a national identity. For Bascomb, this exchange takes place in a political arena where not only the personal is political but the political is often symbolic and immaterial." -- Hunter H. Fine * Communication Booknotes Quarterly *Table of ContentsList of Images Introduction 1 England’s Child, the People’s Nation: Myths of Barbadian National Identity 2 Performing National Identity 3 Caribbean Queen: Afro-Barbadian Femininity, Alison Hinds, and Performing of the Erotic at Home and Abroad 4 “Love You All”: Rupee, Afro-Barbadian Masculinity, Activism, and the Temptations of a Global Pop Market 5 Rihanna, Where Celebrity and Tourism Meet in a Dangerous Crossroads of Representation Conclusion: Celebrating Barbadian Independence, the Golden Jubilee Acknowledgments Notes Works Cited Index

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Book SynopsisHow can memory be mobilized for social justice? How can images and monuments counter public forgetting? And how can inherited family and cultural traumas be channeled in productive ways? In this deeply personal work, acclaimed art historian Dora Apel examines how memorials, photographs, artworks, and autobiographical stories can be used to fuel a process of “unforgetting”—reinterpreting the past by recalling the events, people, perspectives, and feelings that get excluded from conventional histories. The ten essays in Calling Memory into Place feature explorations of the controversy over a painting of Emmett Till in the Whitney Biennial and the debates about a national lynching memorial in Montgomery, Alabama. They also include personal accounts of Apel’s return to the Polish town where her Holocaust survivor parents grew up, as well as the ways she found strength in her inherited trauma while enduring treatment for breast cancer. These essays shift between the scholarly, the personal, and the visual as different modes of knowing, and explore the intersections between racism, antisemitism, and sexism, while suggesting how awareness of historical trauma is deeply inscribed on the body. By investigating the relations among place, memory, and identity, this study shines a light on the dynamic nature of memory as it crosses geography and generations.Trade Review"Calling Memory into Place is written out of a deep conviction in the emancipatory and reparative potentials of memory. Building on the trauma and the resilience inherited from her mother’s survival of the Holocaust, Dora Apel powerfully explores how memorials, visual artworks, and personal narratives of illness and recovery can mobilize us in the struggle for social justice." -- Marianne Hirsch * co-author of School Photos in Liquid Time: Reframing Difference *"In this deeply personal and thoughtful book, Dora Apel explores what it means to recall terrible events and what is at stake in forgetting them. She shows us that artworks, memorials and monuments, however fixed they may be in their form, are also malleable in their meaning when they are mobilized by individuals, communities and governments. Whether she is writing about recent attempts to reckon with America’s legacy of racial violence, the dilemmas that arise from efforts to memorialize the Holocaust, or her own struggle with cancer, Apel’s approach is always lucid, empathic and moving." -- Coco Fusco * Cooper Union School of Arts *"An inherently fascinating, thoughtful and thought-provoking series of insightfully informative essays on the role of memory in processing personal, social, cultural and political histories, Calling Memory into Place is an impressive and original work that is nicely illustrated throughout in full color." * Midwest Book Review *"Apel brings it all to bear in this extraordinary book." * PopMatters *"The Best Books of 2020: Non-Fiction" * PopMatters, The Best Books of 2020: Nonfiction *The Library Café interview with Dora Apel * The Library Cafe *Table of ContentsContents Acknowledgments Introduction Part 1: Passages and Streets 1. A Memorial for Walter Benjamin 2. “Hands Up, Don’t Shoot” Part II: Memorials and Museums 3. Why We Need a National Lynching Memorial 4. “Let the World See What I Have Seen” Part III: Hometowns and Homelands 5. Seeing What Can No Longer Be Seen 6. Borders and Walls Part IV: Hospitals and Cemeteries 7. Sprung from the Head 8. Parallel Universes Part V: Body and Mind 9. Reclaiming the Self 10. The Care of Others Conclusion Notes Bibliography Index

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Book SynopsisBollywood’s New Woman examines Bollywood’s construction and presentation of the Indian Woman since the 1990s. The groundbreaking collection illuminates the contexts and contours of this contemporary figure that has been identified in sociological and historical discourses as the “New Woman.” On the one hand, this figure is a variant of the fin de siècle phenomenon of the “New Woman” in the United Kingdom and the United States. In the Indian context, the New Woman is a distinct articulation resulting from the nation’s tryst with neoliberal reform, consolidation of the middle class, and the ascendency of aggressive Hindu Right politics. Trade Review"There is an emerging gap in classical narrative or textual analysis which marked the early blossoming of film studies in India. Anwer and Arora’s edited volume on Bollywood’s New Woman addresses precisely this gap by taking the attention back to the text to comment on gender, history and society. This collection of articles, spread across fourteen chapters and four sections attempts to reconfigure screened womanhood from the post-liberalization era."— Studies in South Asian Film and Media "These authors deconstruct the tools that filmmakers use and how the characters themselves strategize to assert identity and individuality. Localized, globalized, and contextualized within the larger Indian landscape and yet focusing on the intersections of place, class, caste, and age, the book offers an overview of the New Bollywood Woman."— Uma Vangal, Quarterly Review of Film and Video "A timely and valuable collection, Bollywood’s New Woman offers a critical assessment of nearly three decades of post-economic liberalization India through a focus on the changes and consistencies, in female characters and stars in Hindi cinema. The close readings situate films in diverse industrial formations—big-budget, small films, multiplex, hatke—that shape the many manifestations of these ‘new’ women. And, the perceptive readings anchored in genres, star texts, and new media skillfully show how these ‘new’ women navigate, question, and/or embrace the tradition/modern dyad in neoliberal and Hindu nationalist India." — Monika Mehta, author of Censorship and Sexuality in Bombay Cinema "A sumptuous and well-rounded volume of essays by leading experts on Indian cinema. This book is recommended for all scholars and students for an in-depth understanding of the gender dynamics in post-globalization Bollywood." — Rini Bhattacharya Mehta, author of Unruly Cinema: History, Politics, and Bollywood "Essays in this exciting and welcome collection show us how India’s economic liberalization ushers in new figurations of women. Tracking Bollywood’s New Woman across revised filmic tropes, unconventional screen bodies, emergent technological formats and cosmopolitan geographies, they reveal gender’s starring role in the unfolding story of India’s neoliberalism and cinema." — Priya Jaikumar, author of Where Histories Reside: India as Filmed Space "Insightful and wide-ranging, Bollywood’s New Woman brings together some of the most exciting new scholarship in South Asian film and cultural studies. The figure of the ‘New Woman’ has emerged as the site on which many of India’s current desires and anxieties come to be rehearsed and executed. This anthology is essential reading for anyone interested in gender, politics, and popular culture in contemporary India and beyond." — Meheli Sen, author of Haunting Bollywood: Gender, Genre and the Supernatural in Hindi Commercial CinemaTable of ContentsContents Introduction Part I Family and Nation 1. Koel Banerjee and Jigna Desai, “Mompreneur in the Multiplex: Entrepreneurial Technologies of the “New Woman” Subject in the Age of Neoliberal Globalization” 2. Sangita Gopal, “Lethal Acts: Bollywood’s new woman and the Nirbhaya Effect” 3. Baidurya Chakrabarti, “Beyond the Couple Form: The Space of the New Woman in Yash Raj Films” 4. Aparajita De, “Mera Saaya: Shadows of the Woman in Bollywood’s Cultural Imagination” Part II Body Matters 5. Gohar Siddiqui, “New Womanhood and #LipstickRebellion: Feminist Consciousness in Lipstick Under My Burkha” 6. Debadatta Chakraborty, “Queering Bollywood: Sexuality of the disabled Body – A Case Study” 7. Ajay Gehlawat, “Plus-size Femininity: The Multiple Figurations of Bhumi Pednekar” 8. Puja Sen, “The Many Bodies of Vidya Balan: The Dirty Picture, Kahaani, and Tumhari Sulu” Part III Geographies of the New Woman 9. Anjali Ram, “Out of India: Educating the New Woman in Queen, EnglishVinglish, and Badrinath ki Dulhaniya” 10. Prathim-Maya Dora-Laskey, “Learning to Love The(ir) World: Using Feminist Spaces and Cosmopolitan Impulses against the Heteropatriarchy in Queen and English Vinglish” 11. Namrata Rele Sathe, “Single in the City: The Female Flâneur in Queen” 12. Madhavi Biswas, ”Dedh Ishqiyaand Ishqiya “Glocal Women: Gender, Genre, and Performance in Abhishek Chaubey’s Part IV New Media and the New Woman 13. Kuhu Tanvir, “All Broken Up and Dancing: Looking at Katrina Kaif in eight GIFs” 14. Tanushree Ghosh, “Reshaping ‘Bollywood’: Dissident New Media Femininities and Hindi Cinema” Acknowledgments Notes on Contributors Index

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Book SynopsisMore than perhaps any other major filmmaker, Martin Scorsese has grappled with the idea of the American Dream. His movies are full of working-class strivers hoping for a better life, from the titular waitress and aspiring singer of Alice Doesn’t Live Here Anymore to the scrappy Irish immigrants of Gangs of New York. And in films as varied as Casino, The Aviator, and The Wolf of Wall Street, he vividly displays the glamour and power that can come with the fulfillment of that dream, but he also shows how it can turn into a nightmare of violence, corruption, and greed. This book is the first study of Scorsese’s profound ambivalence toward the American Dream, the ways it drives some men and women to aspire to greatness, but leaves others seduced and abandoned. Showing that Scorsese understands the American dream in terms of a tension between provincialism and cosmopolitanism, Jim Cullen offers a new lens through which to view such seemingly atypical Scorsese films as The Age of Innocence, Hugo, and Kundun. Fast-paced, instructive, and resonant, Martin Scorsese and the American Dream illuminates an important dimension of our national life and how a great artist has brought it into focus.Trade Review"Martin Scorsese is a preeminent American filmmaker, and Jim Cullen is a preeminent historian of American culture. Spanning from the director's youth on the mean streets of Manhattan to the closing scene of The Irishman, this book is teeming with brilliant insight into some of the most important films of the last 50 years. Highly recommended for cinephiles and for anyone interested in the story of the American Dream." — Jonathan D. Cohen, co-editor of Long Walk Home: Reflections on Bruce Springsteen "Jim Cullen is one of the most acute cultural historians writing today. This sweeping analysis of Martin Scorsese’s films through the lens of the American Dream is a must read for the many fans of the director’s work." — Louis P. Masur, author of The Sum of Our Dreams: A Concise History of AmericaTable of ContentsPreface A Martin Scorsese Feature Film Chronology Introduction: The Provincial Cosmopolitan 1 The Elizabethan Era 2 Redeeming Dreams 3 Impressive Failures 4 Dream Critiques 5 Recurring Dreams Conclusion: Dream of Life Acknowledgments Notes Index

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Book SynopsisPrestige Television explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction. In contrast to most accounts of elite categorizations of contemporary US television programming that center on HBO and its primary streaming rivals, these essays examine how efforts to imbue series with prestigious or elevated status now permeate the rest of the medium, including network as well as basic and undervalued premium cable channels. Case study chapters focusing on diverse series, ranging from widely recognized examples such as The Americans (2013-2018) and The Knick (2014-15) to contested examples like Queen of the South (2016-2021) and How I Met Your Mother (2005-2014), highlight how contributing authors extend conceptions of the genre beyond expected parameters. Trade Review“Seth Friedman and Amanda Keeler prompt us to rethink conventional wisdom about 'Quality TV' and explore a rich terrain that combines TV industry strategies and textual expressions. The book makes a wonderful contribution to the study of recent and contemporary television and its shifting cultural status.” -- Michael Z. Newman * Professor of English and Media, Cinema, and Digital Studies, University of Wisconsin-Milwaukee *“Closely examining the ways in which industrial, textual, paratextual, and contextual factors have shaped the category of prestige television programming in the 21st century, Seth Friedman and Amanda Keeler invite us to ponder if prestige television should perhaps be recognized as a new genre. This rich and timely volume is a must read for scholars, students, and TV fans alike.” -- Yeidy Rivero * author of Broadcasting Modernity: Cuban Commercial Television, 1950-1960 *Table of ContentsIntroduction 1 SETH FRIEDMAN AND AMANDA KEELERPart I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTINPart II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEYPart III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index

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Book SynopsisPrestige Television explores how a growing array of 21st century US programming is produced and received in ways that elevate select series above the competition in a saturated market. Contributing authors demonstrate that these shows are positioned and understood as comprising an increasingly recognizable genre characterized by familiar markers of distinction. In contrast to most accounts of elite categorizations of contemporary US television programming that center on HBO and its primary streaming rivals, these essays examine how efforts to imbue series with prestigious or elevated status now permeate the rest of the medium, including network as well as basic and undervalued premium cable channels. Case study chapters focusing on diverse series, ranging from widely recognized examples such as The Americans (2013-2018) and The Knick (2014-15) to contested examples like Queen of the South (2016-2021) and How I Met Your Mother (2005-2014), highlight how contributing authors extend conceptions of the genre beyond expected parameters. Trade Review“Seth Friedman and Amanda Keeler prompt us to rethink conventional wisdom about 'Quality TV' and explore a rich terrain that combines TV industry strategies and textual expressions. The book makes a wonderful contribution to the study of recent and contemporary television and its shifting cultural status.” -- Michael Z. Newman * Professor of English and Media, Cinema, and Digital Studies, University of Wisconsin-Milwaukee *“Closely examining the ways in which industrial, textual, paratextual, and contextual factors have shaped the category of prestige television programming in the 21st century, Seth Friedman and Amanda Keeler invite us to ponder if prestige television should perhaps be recognized as a new genre. This rich and timely volume is a must read for scholars, students, and TV fans alike.” -- Yeidy Rivero * author of Broadcasting Modernity: Cuban Commercial Television, 1950-1960 *Table of ContentsIntroduction 1 SETH FRIEDMAN AND AMANDA KEELERPart I The Fringes of Prestige TV: Genre and Markers of Distinction 1 Spies Like Us: Genre Mixing, Brand Building, and Reagan’s 1980s in The Americans DAVID R. COON 2 Disrupting the Pattern of Prestige TV: Fringe AMANDA KEELER 3 “But Is It Star Trek?”: Prestige, Fandom, and the Return of Star Trek to Television MURRAY LEEDER 4 Negotiating Prestige on The CW: Is Roswell, New Mexico “Another Show about Teenagers Getting F-cked Up and Having Sex” or a Sophisticated Exploration of Racial and Gender Politics? CATHERINE MARTINPart II How Contemporary Programming Met Prestige TV: Unconventional Depictions of Cultural and Televisual Norms 5 Prestige Adaptation by Design: The Commercial Appeal of Latinx Tropes in Queen of the South JAVIER RAMIREZ 6 “Tell Them We Are Gone”: Imperial Narratives, Indigenous Perspectives, and Prestige in The Terror JUSTIN O. RAWLINS 7 Prestige Comedy: Contemporary Sitcom Narrative and Complexity in How I Met Your Mother ANDRE W J. BOTTOMLEYPart III Top of the Media Hierarchy: Cinematization and Television’s Elevation 8 Running The Knick Show: Transfusing Steven Soderbergh’s Authorial Persona into the Prestige Medical Series SETH FRIEDMAN 9 Legitimating Top of the Lake: Jane Campion, the Film Fest, and the Miniseries W. D. PHILLIPS 10 Specters of Serling: Authorship, Television History, and Inherited Prestige in The Twilight Zone (2019–2020) JOSIE TORRES BARTH Acknowledgments Selected Bibliography Notes on Contributors Index

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Book SynopsisNominated for the 2022 Eisner Award - Best Academic/Scholarly Work The Life and Comics of Howard Cruse tells the remarkable story of how a self-described “preacher’s kid” from Birmingham, Alabama, became the so-called “Godfather of Gay Comics.” This study showcases a remarkable fifty-year career that included working in the 1970s underground comics scene, becoming founding editor of the groundbreaking anthology series Gay Comix, and publishing the graphic novel Stuck Rubber Baby, partially based on his own experience of coming of age in the Civil Rights era. Through his exploration of Cruse’s life and work, Andrew J. Kunka also chronicles the dramatic ways that gay culture changed over the course of Cruse’s lifetime, from Cold War-era homophobia to the gay liberation movement to the AIDS crisis to the legalization of gay marriage. Highlighting Cruse’s skills as a trenchant satirist and social commentator, Kunka explores how he cast a queer look at American politics, mainstream comics culture, and the gay community’s own norms. Lavishly illustrated with a broad selection of comics from Cruse’s career, this study serves as a perfect introduction to this pioneering cartoonist, as well as an insightful read for fans who already love how his work sketched a new vision of gay life.Trade ReviewNew Books Network - New Books in LGBTQ+ Studies: An Interview with Andrew J. Kunka: Lavishly illustrated with a broad selection of comics from Cruse’s career, this study serves as a perfect introduction to this pioneering cartoonist, as well as an insightful read for fans who already love how his work sketched a new vision of gay life.— New Books Network - New Books in LGBTQ+ Studies "Kunka balances narrative analysis with comics analysis, pointing out where Cruse uses panel borders unconventionally, or how his work with stippling and cross-hatching was groundbreaking. Kunka's commentary balances Cruse's storytelling with his drawing work, showing how Cruse was the complete package, a true cartoonist. Kunka's work and critical commentary is an essential read for those interested not only in Howard Cruse, but in how his work impacted a generation of artists, especially in how important Cruse was to helping create the genre of queer comics." — International Journal of Comic Art Blog "I’ve been waiting a lifetime for this book! Howard Cruse is one of the most important cartoonists of the 20th century but has never gotten his due because he mostly worked in the LGBTQ comics underground. Andrew Kunka has written a thoughtful, thorough, and celebratory examination of Cruse’s life and remarkable oeuvre. He has paid homage to Howard’s legacy as the Godfather of Queer Comics, who broke up the doors for so many of us queer artists and forever changed the world of comics." — Justin Hall, editor of No Straight Lines: Four Decades of Queer Comics "Pioneering cartoonist Howard Cruse’s genius and fascinating career is vividly brought to life in Andrew Kunka’s highly readable and thoroughly entertaining biography.”— Denis Kitchen, founder of Kitchen Sink Press "December’s Most Anticipated LGBTQIA+ Literature."— Lambda Literary "This book is a lovingly rendered portrait of Howard Cruse, often called the godfather of queer comics. Andrew J. Kunka showcases the range of Cruse's comics, pairing nuanced analysis of previously overlooked comics with deft contextual details about Cruse's life."— Margaret Galvan, University of Florida Smash Pages QA | Andrew J. Kunka: The professor and author discusses his new book about the life and work of the late cartoonist Howard Cruse— Smash Pages "Kunka produced a much-needed critical biography that makes clear exactly how courageous and ground-breaking Howard Cruse had been, in both his comics and his eloquent, impassioned activism. It is essential reading, connecting the dots of a career arc understood primarily as going from 'Gravy on Gay' to Gay Comix to Stuck Rubber Baby, and detailing Cruse's influence on emerging and future generations of queer cartoonists.”— Karen L. Green, Curator for Comics and Cartoons, Columbia UniversityTable of ContentsPreface Introduction 1 Critical Biography 2 Autobiographical Fiction/Fictional Autobiography “The Basic Overview” “Jerry Mack” “Unfinished Pictures” “The Guide” “I Always Cry at Movies …” “That Night at Stonewall” “Then There Was Claude” 3 Commentary and Satire “Billy Goes Out” “Dirty Old Lovers” “Safe Sex” “Sometimes I Get So Mad. . .” “The Gay in the Street” “My Life as a TV Pundit” “Some Words from the Guys in Charge” “Death” 4 Parodies “The Other Side of the Coin” “The Nightmares of Little L*l*” “Raising Nancies” “Hubert the Humorless Ghost” “Shearwell in ‘The Prodigal Sheep’” Acknowledgements Notes Works Cited Index

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Book SynopsisNominated for the 2022 Eisner Award - Best Academic/Scholarly Work The Life and Comics of Howard Cruse tells the remarkable story of how a self-described “preacher’s kid” from Birmingham, Alabama, became the so-called “Godfather of Gay Comics.” This study showcases a remarkable fifty-year career that included working in the 1970s underground comics scene, becoming founding editor of the groundbreaking anthology series Gay Comix, and publishing the graphic novel Stuck Rubber Baby, partially based on his own experience of coming of age in the Civil Rights era. Through his exploration of Cruse’s life and work, Andrew J. Kunka also chronicles the dramatic ways that gay culture changed over the course of Cruse’s lifetime, from Cold War-era homophobia to the gay liberation movement to the AIDS crisis to the legalization of gay marriage. Highlighting Cruse’s skills as a trenchant satirist and social commentator, Kunka explores how he cast a queer look at American politics, mainstream comics culture, and the gay community’s own norms. Lavishly illustrated with a broad selection of comics from Cruse’s career, this study serves as a perfect introduction to this pioneering cartoonist, as well as an insightful read for fans who already love how his work sketched a new vision of gay life.Trade ReviewNew Books Network - New Books in LGBTQ+ Studies: An Interview with Andrew J. Kunka: Lavishly illustrated with a broad selection of comics from Cruse’s career, this study serves as a perfect introduction to this pioneering cartoonist, as well as an insightful read for fans who already love how his work sketched a new vision of gay life.— New Books Network - New Books in LGBTQ+ Studies "Kunka balances narrative analysis with comics analysis, pointing out where Cruse uses panel borders unconventionally, or how his work with stippling and cross-hatching was groundbreaking. Kunka's commentary balances Cruse's storytelling with his drawing work, showing how Cruse was the complete package, a true cartoonist. Kunka's work and critical commentary is an essential read for those interested not only in Howard Cruse, but in how his work impacted a generation of artists, especially in how important Cruse was to helping create the genre of queer comics." — International Journal of Comic Art Blog "I’ve been waiting a lifetime for this book! Howard Cruse is one of the most important cartoonists of the 20th century but has never gotten his due because he mostly worked in the LGBTQ comics underground. Andrew Kunka has written a thoughtful, thorough, and celebratory examination of Cruse’s life and remarkable oeuvre. He has paid homage to Howard’s legacy as the Godfather of Queer Comics, who broke up the doors for so many of us queer artists and forever changed the world of comics." — Justin Hall, editor of No Straight Lines: Four Decades of Queer Comics "Pioneering cartoonist Howard Cruse’s genius and fascinating career is vividly brought to life in Andrew Kunka’s highly readable and thoroughly entertaining biography.”— Denis Kitchen, founder of Kitchen Sink Press "December’s Most Anticipated LGBTQIA+ Literature."— Lambda Literary "This book is a lovingly rendered portrait of Howard Cruse, often called the godfather of queer comics. Andrew J. Kunka showcases the range of Cruse's comics, pairing nuanced analysis of previously overlooked comics with deft contextual details about Cruse's life."— Margaret Galvan, University of Florida Smash Pages QA | Andrew J. Kunka: The professor and author discusses his new book about the life and work of the late cartoonist Howard Cruse— Smash Pages "Kunka produced a much-needed critical biography that makes clear exactly how courageous and ground-breaking Howard Cruse had been, in both his comics and his eloquent, impassioned activism. It is essential reading, connecting the dots of a career arc understood primarily as going from 'Gravy on Gay' to Gay Comix to Stuck Rubber Baby, and detailing Cruse's influence on emerging and future generations of queer cartoonists.”— Karen L. Green, Curator for Comics and Cartoons, Columbia UniversityTable of ContentsPreface Introduction 1 Critical Biography 2 Autobiographical Fiction/Fictional Autobiography “The Basic Overview” “Jerry Mack” “Unfinished Pictures” “The Guide” “I Always Cry at Movies …” “That Night at Stonewall” “Then There Was Claude” 3 Commentary and Satire “Billy Goes Out” “Dirty Old Lovers” “Safe Sex” “Sometimes I Get So Mad. . .” “The Gay in the Street” “My Life as a TV Pundit” “Some Words from the Guys in Charge” “Death” 4 Parodies “The Other Side of the Coin” “The Nightmares of Little L*l*” “Raising Nancies” “Hubert the Humorless Ghost” “Shearwell in ‘The Prodigal Sheep’” Acknowledgements Notes Works Cited Index

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Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come."— Murray Hill, New York City drag king and comedian "King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you."— Amy L. Stone, author of Cornyation: San Antonio's Outrageous Fiesta TraditionTable of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index

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Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *Table of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index

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Book SynopsisFashionable Masculinities explores the expression of masculinities through constructions of fashion, identity, style and appearance as the third decade of the new millennium begins: a contradictory and precarious moment when masculinities are defined by protests and pandemics whilst being problematized across class, ethnicity, race, gender and sexuality. Whilst a majority of men might still define themselves as ‘traditional,’ post-millennials are now talking about how they envision a future without gender boundaries and borders. Rather than being defined as a gender, masculinity has now become a style that can be worn and performed as traditional and normative codes of masculinity are modulated and manipulated. This volume includes original essays on musical pop sensation Harry Styles, rapper and producer “Puff Daddy” Sean Combs, lumbersexuals, spornosexuals, sexy daddies, and aging cool black daddies. Bringing together contributions from leading scholars, this book interrogates and challenges the meaning of masculinities and the ways that they are experienced and lived. Trade Review"It is not just queers, pimp daddies, and lumbersexuals who rendezvous on this volume; it is a whole spectrum of masculinities: blak-indigenous men, gym bros, ageing action heroes, retro hipsters, Harry, and gen-Z influencers. Masculinities are legion: fluid, complex, and poised to forever resist essentializing binaries and gender signifiers. This timely volume, written by top experts in the field, offers a thorough insight into the design, advertising, retail, and consumption of fashionable masculinities." -- José Blanco F. * Chair of Fashion, Dominican University, Illinois *"This text represents the future of men’s fashion studies. It symbolizes a pivotal turn for understanding this discipline. The contributors take us on a journey through men’s fashion from the beginning into contemporary style. This book is crucial for anyone interested in men’s appearances, fashion, and lifestyles." -- Joseph H. Hancock, II * professor, Drexel University, Philadelphia *"It is not just queers, pimp daddies, and lumbersexuals who rendezvous on this volume; it is a whole spectrum of masculinities: blak-indigenous men, gym bros, ageing action heroes, retro hipsters, Harry, and gen-Z influencers. Masculinities are legion: fluid, complex, and poised to forever resist essentializing binaries and gender signifiers. This timely volume, written by top experts in the field, offers a thorough insight into the design, advertising, retail, and consumption of fashionable masculinities." -- José Blanco F. * Chair of Fashion, Dominican University, Illinois *"This text represents the future of men’s fashion studies. It symbolizes a pivotal turn for understanding this discipline. The contributors take us on a journey through men’s fashion from the beginning into contemporary style. This book is crucial for anyone interested in men’s appearances, fashion, and lifestyles." -- Joseph H. Hancock, II * professor, Drexel University, Philadelphia *"Contributors include some of the best minds in their field ... and the book’s 16 chapters are accessible to anyone interested in gender and clothing. ...Fashionable Masculinities picks apart our understanding of manhood, showing how 'masculinity has become a style that can be worn, assumed — or abjured.'" -- Derek Guy * Vulture.com & New York Magazine *Table of ContentsForewordChristopher BrewardIntroductionVicki Karaminas, Adam Geczy, and Pamela Church Gibson1 Harry Styles: Fashion’s Gender ChangelingVicki Karaminas and Justine Taylor2 Puff Daddy’s Mogul Style: Penis in Furs or Surface Tensions?Nigel Lezama3 Daddy Cool: Aging Black Male Bodies and Embodied Stylin’Michael McMillan4 Unisex and Individuation: Contemporary Russian Fashion and Men’s (Self)-StylingVlad Strukov5 Spectacularizing the Male Body: Fashionable Physiques in the Age of InstagramJay McCauley Bowstead6 One Sexy Daddy: Desirable Dad “Bods” and the Popular Romance NovelJonathan A. Allan7 The Bodyclad Cinematic Hero: Aging, Masculinity, and Technological MediationAdam Geczy8 The Rise of the Bottom: Counterdiscourse to Challenge Heteronormativity within the Gay CommunityAndrew Reilly9 Unfashionable Goodes: The Wrong Kind of Blak and the Scandalization of Indigenous Masculinities in Settler-AustraliaBarry Judd and Nikita Vanderbyl10 The Rough and the Smooth Revisited: Masculinity, Fashion, and James Bond for a New MillenniumPamela Church Gibson11 “Coming Out” and Fitting In: The Role of Dress and Style in Fashioning Gay Men’s Identities in the New MillenniumShaun Cole12 Crip Masculinities and Everyday Dress: Intersectional Narratives of Imagination, Access, and OwnershipBen Barry13 Dandyism Revisited: From the English Gent to the SapeurOlga Vainshtein14 Beard-Grooming Brands and Products as Representations of MasculinityVictor Vey15 Gent-rifying the Stylish Neighborhood: An Examination of Retail Accommodation for the Asian Urban Male ConsumerAnne Peirson-Smith and Jennifer Craik16 A Vision of a Modern DandyJulio Mompó with Olga VainshteinAcknowledgmentsBibliographyNotes on ContributorsIndex

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Book SynopsisFashionable Masculinities explores the expression of masculinities through constructions of fashion, identity, style and appearance as the third decade of the new millennium begins: a contradictory and precarious moment when masculinities are defined by protests and pandemics whilst being problematized across class, ethnicity, race, gender and sexuality. Whilst a majority of men might still define themselves as ‘traditional,’ post-millennials are now talking about how they envision a future without gender boundaries and borders. Rather than being defined as a gender, masculinity has now become a style that can be worn and performed as traditional and normative codes of masculinity are modulated and manipulated. This volume includes original essays on musical pop sensation Harry Styles, rapper and producer “Puff Daddy” Sean Combs, lumbersexuals, spornosexuals, sexy daddies, and aging cool black daddies. Bringing together contributions from leading scholars, this book interrogates and challenges the meaning of masculinities and the ways that they are experienced and lived. Trade Review"It is not just queers, pimp daddies, and lumbersexuals who rendezvous on this volume; it is a whole spectrum of masculinities: blak-indigenous men, gym bros, ageing action heroes, retro hipsters, Harry, and gen-Z influencers. Masculinities are legion: fluid, complex, and poised to forever resist essentializing binaries and gender signifiers. This timely volume, written by top experts in the field, offers a thorough insight into the design, advertising, retail, and consumption of fashionable masculinities." -- José Blanco F. * Chair of Fashion, Dominican University, Illinois *"This text represents the future of men’s fashion studies. It symbolizes a pivotal turn for understanding this discipline. The contributors take us on a journey through men’s fashion from the beginning into contemporary style. This book is crucial for anyone interested in men’s appearances, fashion, and lifestyles." -- Joseph H. Hancock, II * professor, Drexel University, Philadelphia *"It is not just queers, pimp daddies, and lumbersexuals who rendezvous on this volume; it is a whole spectrum of masculinities: blak-indigenous men, gym bros, ageing action heroes, retro hipsters, Harry, and gen-Z influencers. Masculinities are legion: fluid, complex, and poised to forever resist essentializing binaries and gender signifiers. This timely volume, written by top experts in the field, offers a thorough insight into the design, advertising, retail, and consumption of fashionable masculinities." -- José Blanco F. * Chair of Fashion, Dominican University, Illinois *"This text represents the future of men’s fashion studies. It symbolizes a pivotal turn for understanding this discipline. The contributors take us on a journey through men’s fashion from the beginning into contemporary style. This book is crucial for anyone interested in men’s appearances, fashion, and lifestyles." -- Joseph H. Hancock, II * professor, Drexel University, Philadelphia *"Contributors include some of the best minds in their field ... and the book’s 16 chapters are accessible to anyone interested in gender and clothing. ...Fashionable Masculinities picks apart our understanding of manhood, showing how 'masculinity has become a style that can be worn, assumed — or abjured.'" -- Derek Guy * Vulture.com & New York Magazine *Table of ContentsForewordChristopher BrewardIntroductionVicki Karaminas, Adam Geczy, and Pamela Church Gibson1 Harry Styles: Fashion’s Gender ChangelingVicki Karaminas and Justine Taylor2 Puff Daddy’s Mogul Style: Penis in Furs or Surface Tensions?Nigel Lezama3 Daddy Cool: Aging Black Male Bodies and Embodied Stylin’Michael McMillan4 Unisex and Individuation: Contemporary Russian Fashion and Men’s (Self)-StylingVlad Strukov5 Spectacularizing the Male Body: Fashionable Physiques in the Age of InstagramJay McCauley Bowstead6 One Sexy Daddy: Desirable Dad “Bods” and the Popular Romance NovelJonathan A. Allan7 The Bodyclad Cinematic Hero: Aging, Masculinity, and Technological MediationAdam Geczy8 The Rise of the Bottom: Counterdiscourse to Challenge Heteronormativity within the Gay CommunityAndrew Reilly9 Unfashionable Goodes: The Wrong Kind of Blak and the Scandalization of Indigenous Masculinities in Settler-AustraliaBarry Judd and Nikita Vanderbyl10 The Rough and the Smooth Revisited: Masculinity, Fashion, and James Bond for a New MillenniumPamela Church Gibson11 “Coming Out” and Fitting In: The Role of Dress and Style in Fashioning Gay Men’s Identities in the New MillenniumShaun Cole12 Crip Masculinities and Everyday Dress: Intersectional Narratives of Imagination, Access, and OwnershipBen Barry13 Dandyism Revisited: From the English Gent to the SapeurOlga Vainshtein14 Beard-Grooming Brands and Products as Representations of MasculinityVictor Vey15 Gent-rifying the Stylish Neighborhood: An Examination of Retail Accommodation for the Asian Urban Male ConsumerAnne Peirson-Smith and Jennifer Craik16 A Vision of a Modern DandyJulio Mompó with Olga VainshteinAcknowledgmentsBibliographyNotes on ContributorsIndex

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Book SynopsisImpossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships.Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.Trade Review“It’s a bird, plane. . . No, it’s actually a phallic-bulged Man of Steel, ultrasonic orgasming Black Canary, jester in hot-pants Harley, vanilla romancing Spidey, a gay lip-locking Iceman, queer Batcave encounters, and out-and-proud Young Avengers. With his usual superhuman infrared analytic prowess, Jeffrey Allan Brown makes visible to the human eye a superhero universe that at once feeds straight fanboy wish fulfillment fantasies of square-jawed virility and radically troubles mainstreamed norms of love, sex, sexuality, and gender!” -- Frederick Luis Aldama * author of Eisner Award-winning Latinx Superheroes in Mainstream Comics *"From porn parodies to Bat man-caves, from hidden Hulk phalluses to robots in revealing negligees, Jeffrey A. Brown demonstrates convincingly that superhero narratives are filled not just with superfeats, but with supergender." -- Noah Berlatsky * author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics *"We know that superhero comics are concerned with masculinity, but Jeffrey Brown makes a powerful case for understanding superhero comics as also foundationally about love and sex. Perhaps this accessible text with its impressive breadth will finally put to bed the idea that these works are only selling adolescent fantasies about manhood. Creators and fans consistently use superhero comics to explore very adult ideas about intimacy. Adding one more important volume to his prolific body of work, Brown yet again demonstrates that he is a skilled reader of gender in popular culture." -- Rebecca Wanzo * author of The Content of Our Caricature: African American Comic Art and Political Belonging *"Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence." * Forces of Geek *"Smash Pages Q&A: Jeffrey A. Brown: The pop culture scholar discusses his latest books on superheroes, diversity and gender" * SmashPages *“It’s a bird, plane. . . No, it’s actually a phallic-bulged Man of Steel, ultrasonic orgasming Black Canary, jester in hot-pants Harley, vanilla romancing Spidey, a gay lip-locking Iceman, queer Batcave encounters, and out-and-proud Young Avengers. With his usual superhuman infrared analytic prowess, Jeffrey Allan Brown makes visible to the human eye a superhero universe that at once feeds straight fanboy wish fulfillment fantasies of square-jawed virility and radically troubles mainstreamed norms of love, sex, sexuality, and gender!” -- Frederick Luis Aldama * author of Eisner Award-winning Latinx Superheroes in Mainstream Comics *"From porn parodies to Bat man-caves, from hidden Hulk phalluses to robots in revealing negligees, Jeffrey A. Brown demonstrates convincingly that superhero narratives are filled not just with superfeats, but with supergender." -- Noah Berlatsky * author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics *"We know that superhero comics are concerned with masculinity, but Jeffrey Brown makes a powerful case for understanding superhero comics as also foundationally about love and sex. Perhaps this accessible text with its impressive breadth will finally put to bed the idea that these works are only selling adolescent fantasies about manhood. Creators and fans consistently use superhero comics to explore very adult ideas about intimacy. Adding one more important volume to his prolific body of work, Brown yet again demonstrates that he is a skilled reader of gender in popular culture." -- Rebecca Wanzo * author of The Content of Our Caricature: African American Comic Art and Political Belonging *"Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence." * Forces of Geek *"Smash Pages QA: Jeffrey A. Brown: The pop culture scholar discusses his latest books on superheroes, diversity and gender" * SmashPages *Table of ContentsIntroduction: Signifying Love, Sex, and Gender 1 The Visible and the Invisible: Superheroes and Phallic Masculinity 2 Women Dark and Dangerous: Super Femme Fatales and Female Sexuality 3 Secrets of the Batcave: Masculinity and Homosocial Space 4 Marriage, Domesticity, and Superheroes (for Better or Worse) 5 It Starts with a Kiss: Straightening and Queering the Superhero 6 Even an Android Has Feelings: Learning about Love and Robots 7 Super Fluidity: Transing and Transcending Gendered Bodies 8 KRAKK! WHACK! SMACK! Comic Book Violence and Sexual Assault 9 Pleasure, Pain, Climaxes, and Little Deaths Conclusion: Love, Sex, Gender, and Superheroes in Real Life References Index

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Book SynopsisImpossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships.Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.Trade Review“It’s a bird, plane. . . No, it’s actually a phallic-bulged Man of Steel, ultrasonic orgasming Black Canary, jester in hot-pants Harley, vanilla romancing Spidey, a gay lip-locking Iceman, queer Batcave encounters, and out-and-proud Young Avengers. With his usual superhuman infrared analytic prowess, Jeffrey Allan Brown makes visible to the human eye a superhero universe that at once feeds straight fanboy wish fulfillment fantasies of square-jawed virility and radically troubles mainstreamed norms of love, sex, sexuality, and gender!” -- Frederick Luis Aldama * author of Eisner Award-winning Latinx Superheroes in Mainstream Comics *"From porn parodies to Bat man-caves, from hidden Hulk phalluses to robots in revealing negligees, Jeffrey A. Brown demonstrates convincingly that superhero narratives are filled not just with superfeats, but with supergender." -- Noah Berlatsky * author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics *"We know that superhero comics are concerned with masculinity, but Jeffrey Brown makes a powerful case for understanding superhero comics as also foundationally about love and sex. Perhaps this accessible text with its impressive breadth will finally put to bed the idea that these works are only selling adolescent fantasies about manhood. Creators and fans consistently use superhero comics to explore very adult ideas about intimacy. Adding one more important volume to his prolific body of work, Brown yet again demonstrates that he is a skilled reader of gender in popular culture." -- Rebecca Wanzo * author of The Content of Our Caricature: African American Comic Art and Political Belonging *"Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence." * Forces of Geek *"Smash Pages Q&A: Jeffrey A. Brown: The pop culture scholar discusses his latest books on superheroes, diversity and gender" * SmashPages *“It’s a bird, plane. . . No, it’s actually a phallic-bulged Man of Steel, ultrasonic orgasming Black Canary, jester in hot-pants Harley, vanilla romancing Spidey, a gay lip-locking Iceman, queer Batcave encounters, and out-and-proud Young Avengers. With his usual superhuman infrared analytic prowess, Jeffrey Allan Brown makes visible to the human eye a superhero universe that at once feeds straight fanboy wish fulfillment fantasies of square-jawed virility and radically troubles mainstreamed norms of love, sex, sexuality, and gender!” -- Frederick Luis Aldama * author of Eisner Award-winning Latinx Superheroes in Mainstream Comics *"From porn parodies to Bat man-caves, from hidden Hulk phalluses to robots in revealing negligees, Jeffrey A. Brown demonstrates convincingly that superhero narratives are filled not just with superfeats, but with supergender." -- Noah Berlatsky * author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics *"We know that superhero comics are concerned with masculinity, but Jeffrey Brown makes a powerful case for understanding superhero comics as also foundationally about love and sex. Perhaps this accessible text with its impressive breadth will finally put to bed the idea that these works are only selling adolescent fantasies about manhood. Creators and fans consistently use superhero comics to explore very adult ideas about intimacy. Adding one more important volume to his prolific body of work, Brown yet again demonstrates that he is a skilled reader of gender in popular culture." -- Rebecca Wanzo * author of The Content of Our Caricature: African American Comic Art and Political Belonging *"Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence." * Forces of Geek *"Smash Pages QA: Jeffrey A. Brown: The pop culture scholar discusses his latest books on superheroes, diversity and gender" * SmashPages *Table of ContentsIntroduction: Signifying Love, Sex, and Gender 1 The Visible and the Invisible: Superheroes and Phallic Masculinity 2 Women Dark and Dangerous: Super Femme Fatales and Female Sexuality 3 Secrets of the Batcave: Masculinity and Homosocial Space 4 Marriage, Domesticity, and Superheroes (for Better or Worse) 5 It Starts with a Kiss: Straightening and Queering the Superhero 6 Even an Android Has Feelings: Learning about Love and Robots 7 Super Fluidity: Transing and Transcending Gendered Bodies 8 KRAKK! WHACK! SMACK! Comic Book Violence and Sexual Assault 9 Pleasure, Pain, Climaxes, and Little Deaths Conclusion: Love, Sex, Gender, and Superheroes in Real Life References Index

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Book SynopsisAnalyzing the way that recent works of graphic narrative use the comics form to engage with the “problem” of reproduction, Shiamin Kwa’s Perfect Copies reminds us that the mode of production and the manner in which we perceive comics are often quite similar to the stories they tell. Perfect Copies considers the dual notions of reproduction, mechanical as well as biological, and explores how comics are works of reproduction that embed questions about the nature of reproduction itself. Through close readings of the comics My Favorite Thing Is Monsters by Emil Ferris, The Black Project by Gareth Brookes, The Generous Bosom series by Conor Stechschulte, Sabrina by Nick Drnaso, and Panther by Brecht Evens, Perfect Copies shows how these comics makers push the limits of different ideas of “reproduction” in strikingly different ways. Kwa suggests that reading and thinking about books like these, that push us to engage with these complicated questions, teaches us how to become better readers.Trade Review“Perfect Copies is about the creation and impact of comics that skirt the line of what readers might imagine would be considered typical within the medium. This book pushes readers to think about the ways that comics creators nudge the boundaries of how comics might look, "read" and visually "feel.” It is a must read for everyone who loves the ways that comics have revolutionized art and aesthetics and that art has revolutionized comics and notions of reproduction.”— Rachel Marie-Crane Williams, Dean of Liberal Arts, UNC School of The ArtsTable of ContentsIntroduction 1 The People Upstairs: Space, Memory, and the Queered Family in My Favorite Thing Is Monsters 2 Reach Out and Touch Someone: The Haptic Dreams of Gareth Brookes 3 Phantom Threads: Seeing in the Dark and Conor Stechschulte 4 If You See Something Say Something: Nick Drnaso’s Sabrina 5 There is a Monster in My Closet: Brecht Evens’s Panther Conclusion Acknowledgments Notes Bibliography Index

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Book SynopsisGiven the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them. Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies. Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future. Trade Review"A brilliant cartography of the zombie film, elegantly crafted, theoretically informed and ambitious in its transnational sweep and decolonial focus."— Cynthia Steele, author of Politics, Gender, and the Mexican Novel, 1968-1988 "A fascinating and rigorous study that invites us to analyze our dreams and fears, the contemporary effects of global power and coloniality, necropolitics, today’s structures of oppression, and certainly the very essence of our own humanity. Patricia Saldarriaga and Emy Manini have written a book on zombies that will stand the test of time; their reading decolonizes and queers identity, the present, the future, horror fiction, and most definitely: our understanding of history."— Oswaldo Estrada, author of Troubled Memories: Iconic Mexican Women and the Traps of Representation The Page 99 Test: ?Patricia Saldarriaga and Emy Manini's "Infected Empires"— The Page 99 Test "A fascinating and rigorous study that invites us to analyze our dreams and fears, the contemporary effects of global power and coloniality, necropolitics, today’s structures of oppression, and certainly the very essence of our own humanity. Patricia Saldarriaga and Emy Manini have written a book on zombies that will stand the test of time; their reading decolonizes and queers identity, the present, the future, horror fiction, and most definitely: our understanding of history."— Oswaldo Estrada, author of Troubled Memories: Iconic Mexican Women and the Traps of Representation The Page 99 Test: Patricia Saldarriaga and Emy Manini's "Infected Empires"— The Page 99 Test "A brilliant cartography of the zombie film, elegantly crafted, theoretically informed and ambitious in its transnational sweep and decolonial focus."— Cynthia Steele, author of Politics, Gender, and the Mexican Novel, 1968-1988Table of ContentsIntroduction Chapter 1: What is a Zombie? Chapter 2: Mutilate the State! Nation Race, Power Chapter 3: Devouring Capitalism Chapter 4: Bodies that Splatter. Queering and Cripping Zombies Chapter 5: Of Matter, Dust, and Earth: Zombies and the Environment Conclusions

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Book SynopsisThe neo-burlesque movement seeks to restore a sense of glamour, theatricality, and humor to striptease. Neo-burlesque performers strut their stuff in front of audiences that appreciate their playful brand of pro-sex, often gender-bending, feminism. Performance studies scholar and acclaimed burlesque artist Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Revealing how twenty-first century neo-burlesque is in constant dialogue with the classic burlesque of the nineteenth and twentieth centuries, she considers how today’s performers use camp to comment on preconceived notions of femininity. She also explores how the striptease performer directs the audience’s gaze, putting on layers of meaning while taking off layers of clothing. Through detailed profiles of iconic neo-burlesque performers such as Dita Von Teese, Dirty Martini, Julie Atlas Muz, and World Famous *BOB*, this book makes the case for understanding neo-burlesque as a new sexual revolution. Yet it also examines the broader community of “Pro-Am” performers who use neo-burlesque as a liberating vehicle for self-expression. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.Trade Review"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon and author of The Unruly Woman: Gender and the Genres of Laughter *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"?NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"?Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon an *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *Table of ContentsPreface: Revelations and Disidentification Introduction: Definitions and Methodologies 1 Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 2 Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 3 Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 4 Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 5 Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 6 Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 7 Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz Conclusion: Nasty Women and Female Chauvinist Pigs Acknowledgments Notes Bibliography Index

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Book SynopsisWilliam Elliot Griffis (1843 1928) graduated from Rutgers College in 1869 and taught four years in Fukui and Tokyo. After his return to the United States, he devoted himself to his research and writing on East Asia throughout his life. He authored 20 books about Japan and five books about Korea including,Corea: The Hermit Nation (1882), Corea, Without and Within: Chapters on Corean History, Manners and Religion (1885), The Unmannerly Tiger, and Other Korean Tales (1911), A Modern Pioneer in Korea: The Life Story of Henry G. Appenzeller (1912), and Korean Fairy Tales (1922). In particular, his bestseller, Corea: The Hermit Nation (1882) was reprinted numerous times through nine editions over thirty years. He was not only known as the foremost interpreter of Japan to the West before World War I but also the American expert on Korea. After his death, his collection of books, documents, photographs and ephemera was donated to Rutgers. The Korean materials in the Griffis Collection at R

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Book SynopsisThe upheavals of glasnost and perestroika followed by the collapse of the Soviet Union remarkably transformed the art scene in Kyiv, launching Ukrainian contemporary art as a global phenomenon. The previously calm waters of the culturally provincial capital of the Ukrainian Soviet Republic became radically stirred with new and daring art made publicly visible for the first time since the avant-garde period of the early twentieth century. As artists were freed from the dictates of the fading Communist ideology and the constraints of late socialist realism, an explosion of styles emerged, creating an effect of baroque excess. This exhibition catalogue traces and documents the diverse artistic manifestations of these transitional and exhilarating years in Kyiv while providing some historical artworks for context. Published in partnership with the Zimmerli Museum.Table of ContentsForeword Donna Gustafson Acknowledgments Olena Martynyuk Introduction Julia Tulovsky 1 Painting Ukrainian Perestroika: A Parade of Excesses Olena Martynyuk 2 The Point of No Return: The Art of Kyiv at a Historical Crossroads Oleksandr Soloviov 3 Back and Down to Empty Landscapes: Notes on Ukraine’s Reverse Modernism Asia Bazdyrieva 4 Prodigal Children of Socialist Realism: New Ukrainian Art and the Soviet Art School Alisa Lozhkina 5 Collecting Eras: A Conversation Igor Abramovych & Olena Martynyuk Artists’ Statements Plates Selected Bibliography Checklist of the Exhibition Index Contributors

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Book SynopsisEver since horror leapt from popular fiction to the silver screen in the late 1890s, viewers have experienced fear and pleasure in exquisite combination. Wheeler Winston Dixon's fully revised and updated A History of Horror is still the only book to offer a comprehensive survey of this ever-popular film genre.Arranged by decades, with outliers and franchise films overlapping some years, this one-stop sourcebook unearths the historical origins of characters such as Dracula, Frankenstein, and the Wolfman and their various incarnations in film from the silent era to comedic sequels. In covering the last decade, this new edition includes coverage of the resurgence of the genre, covering the swath of new groundbreaking horror films directed by women, Black and queer horror films, and a new international wave in body horror films.A History of Horror explores how the horror film fits into the Hollywood studio system, how the distribution and exhibition of horror films have changed in a post-COVID world, and how its enormous success in American and European culture expanded globally over time.Dixon examines key periods in the horror film-in which the basic precepts of the genre were established, then banished into conveniently reliable and malleable forms, and then, after collapsing into parody, rose again and again to create new levels of intensity and menace. A History of Horror, supported by rare stills from classic films, brings over sixty timeless horror films into frightfully clear focus, zooms in on today's top horror Web sites, and champions the stars, directors, and subgenres that make the horror film so exciting and popular with contemporary audiences. Trade Review"Dixon is recognized as an eminent film scholar and the current title is an impressive addition to his oeuvre. This book certainly has solid scholarship, but it is also a book that once picked up is hard to put down. Essential." * Choice *"Dixon is a deft and knowledgeable guide, leading us from silent ghouls to Universal's monsters. Interspersed throughout this catalogue are nuggets of surprising information." * Times Literary Supplement *"This is an excellent survey of horror movies. The author, a veteran film historian, takes the reader back to the beginning, when, in the first three decades of the twentieth century, such directors as Georges Melies, F. W. Murnau, and Paul Wegener were defining not only the look of a genre but also cinema itself. The period between 1930 and the late 1940s saw the rise of the classic Universal Studios characters—Frankenstein's monster, Dracula, the Wolf Man, the Mummy—and the actors who played them: Karloff, Lugosi, Chaney Jr. By the end of the 1940s, horror was dying, 'killed by a plethora of poorly made sequels.' But never fear: the period between the late 1940s and 1970 saw a massive resurgence, due in part to gimmicks (such as 3-D); low-budget quickies from the likes of Roger Corman, the wizard of the B movie; and the stylish resurrection of the classic Universal monsters by Britain's Hammer Film Productions. This survey, which takes the reader right up to the present, is full of fascinating information and is delivered in an accessible manner. Required reading for horror fans." -- David Pitt * Booklist *"Dixon surveys the development of the horror genre from the earliest Frankenstein and Dracula films through the decades of classics by Hammer studios, William Castle, Roger Corman, and Val Lewton. Dixon covers movies seldom found in other histories and more modern, international titles such as Wolf Creek, Black Water, and Grudge. The endurance of horror, trends like remakes and sequels, and such popular franchises as Child's Play and Halloween are also discussed. In the final chapter, Dixon analyzes the decline of modern horror owing to desensitized audiences, graphic gore, violence, and lack of solid plot lines or character development. Lists of the best horror websites as well as the 50 movies covered round out this volume. This concise overview is an informative and entertaining read. Recommended." * Library Journal *"In less than 250 pages, Wheeler Winston Dixon manages to cover the trends and sub-genres of film horror from 1896 to 2009. Bonuses include a list of top horror sites, a list of fifty classic films, and a pretty wonderful bibliography. Well written and well researched and offering an enjoyable overview of more than one hundred years of cinema, A History of Horror is a quick, delightful read." * Seattle Post-Intelligencer *"No mere catalogue of titles, Dixon's account explores all aspects of the genre: literary underpinnings, themes, and transformations, including much on actors and directors. Dixon's mind-priming volume will enhance spine-tingling late-night viewings." * ForeWord Reviews *"A breathtaking panorama, written with wit and candor, showing how the horror film has shaped cinema from the origins of the genre until now." -- Tom Conley, Harvard University"Rich with excellent illustrations and clever anecdotes, this book will appeal to fans of horror as well as film students and scholars interested in a readable overview of the history of the genre." -- Rebecca Bell-Metereau, author of Hollywood Androgyny "There’s No Dark Universe Anymore, Just One Monster After Another," by Robert Ito https://www.nytimes.com/2020/02/27/movies/the-invisible-man-universal.html * New York Times *"New from Rutgers U. Press: A History of Horror" by Dan Aubrey https://www.communitynews.org/princetoninfo/artsandentertainment/new-from-rutgers-u-press-a-history-of-horror/article_3fae29f2-a6fb-11ed-9ef2-ff473369899e.html * U.S. 1, Princeton *Table of ContentsAcknowledgements 1 Origins: 1896-1929 2 Classics: 1930-1948 3 Rebirth: 1949-1970 4 New Blood: 1970-1990 5 The Next Wave: 1990-2010 6 The Future: 2010-Present Top Horror Websites 50 Classic Horror Films Bibliography Index

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Book SynopsisTwenty-first century fashion practice has become increasingly borderless and diverse in the digital era, calling into question the very boundaries that define fashion in the Western cultural context. Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age principally engages the work of four fashion designers -- Virgil Abloh, Aitor Throup, Iris Van Herpen, and Eckhaus Latta -- whose work intersects with other creative disciplines such as art, technology, science, architecture, and graphic design. They do their work in what Vanessa Gerrie calls the metamodern age -- the time and place where the polarization between the modern and the postmodern collapses. Used as a framework to understand the current Western cultural zeitgeist, Gerrie's exploration of the work of contemporary practitioners and theorists finds blurred borders and seeks to blur them further, to the point of erasure.Trade Review"A well-balanced and highly informative read. The first book-length study of metamodernism in fashion, Borderless Fashion Practice makes a significant contribution to our understanding of one of the most important trends in the contemporary fashion industry. Especially commendable is Vanessa Gerrie’s diverse choice of designers who, though very different from each other, all illustrate the practice of 'borderless fashion.'"— Graham H. Roberts, author of Consumer Culture, Branding and Identity in the New Russia: From Five-year Plan to 4x4 "Gerrie’s concept of “borderless fashion” demonstrates how contemporary fashion practices include key aspects of our society and culture that go far beyond fashion itself."— Patrizia Calefato, author of Fashion as Cultural Translation: Signs, Images, NarrativesTable of ContentsList of Illustrations Introduction 1 On Metamodernism 2 Fashion in the Academy 3 Fashion’s Democratization 4 Collaboration and Experimentation between Fashion and Art 5 Fashion as a Concept 6 Virgil Abloh’s Democratic Fashion Practice 7 Aitor Throup’s Divergent Design 8 Iris van Herpen’s “New Couture” 9 Eckhaus Latta’s Community-Led Brand Conclusion Acknowledgments Notes Bibliography Index

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Book SynopsisThe turn of the nineteenth century in the United States saw the substantial influx of immigrants and a corresponding increase in anti-immigration and nativist tendencies among longer-settled Americans. Jewish immigrants were often the object of such animosity, being at once the object of admiration and anxiety for their perceived economic and social successes. One result was their frequent depiction in derogatory caricatures on the stage and in print. Smoothing the Jew investigates how Jewish artists of the time attempted to “smooth over” these demeaning portrayals by focusing on the first Jewish comic strip published in English, Harry Hershfield’s Abie the Agent. Jeffrey Marx demonstrates how Hershfield created a Jewish protagonist who in part reassured nativists of the Jews’ ability to assimilate into American society while also encouraging immigrants and their children that, over time, they would be able to adopt American custom

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Book SynopsisEast Harlem native Christopher Bell takes you on three separate walking tours of his beloved neighborhood, sharing fascinating stories about its theatres, museums, art spaces, schools, churches, mosques, and synagogues. You'll also learn about the people who have lived in this famously diverse community, including actress Cecily Tyson and opera singer Marian Anderson.

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Book SynopsisThe Brodsky Center at Rutgers: Three Decades, 1986-2017, chronicles the history and artists involved with an internationally acclaimed print and papermaking studio at Rutgers University. Judith K. Brodsky conceived, founded, and directed the atelier, which, from its onset, provided state-of-the-arts technology and expertise for under-represented contemporary artists — women, Indigenous, and from diasporas of the African, Eastern European, Latin and Asian communities — to make innovative works on paper. These artistic creations presented new narratives to American and global visual arts from voices previously not heard or seen. Some of the artists featured in the book include Faith Ringgold, Elizabeth Catlett, Jaune Quick-to-See Smith, Miriam Schapiro, Pepón Osorio, Kiki Smith, and Richard Tuttle, among many other talented and influential printmakers and artists. Published in partnership with the Zimmerli Museum. Table of ContentsPreface Maura Reilly Curator’s Acknowledgments Ferris Olin New Narratives for the American Cultural Mainstream: 30 Years of the Brodsky Center at Rutgers University Ferris Olin Brodsky Center Visiting Artists-in-Residence, 1986–2017 Plates Printing Processes Catalogue of the Exhibition Artists’ Biographies

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Book Synopsis

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Book Synopsis

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Book SynopsisThis book brings together from four years of study on Nigerian contemporary art's internationalization. The monograph integrates voices of African (Nigerian) artists and art market players into the growing discourse on the emerging art markets in the global South. It explores the logic of competition and dynamics of power relations in the global markets, focusing on the internationalization of contemporary art forms from peripheral regions. The book confirms that the internationalization of contemporary art form from Nigeria is limited due to systematic marginalization in the artistic field, which in this case based on postcolonialism, and debilitating socio-economic factors such as outmoded art education, unstructured support system and weak mechanism for local validation, and an inefficient political framework for art governance.It will therefore be useful to students and researchers in the sociology of art, art market studies, art history and culture polity. Table of Contents1.Introduction.- 2.Sub-Saharan Africa in the global art market’s structure.- 3.The Development of Contemporary Art in Nigeria.- 4.Aesthetic Influences of Cultural Nationalism and Decolonization.- 5.Transnational influences, authenticity censure and postcolonial exclusion.- 6.Evolution of the Market for Contemporary Art.- 7.Contemporary Art from Nigeria in International Spaces.- 8.Systems of Art Governance.- 9.Power Dynamics and Alternative Systems.-

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Book SynopsisThis is a history of the Centre William Rappard, the first building designed to house an international organization in Geneva, and its art treasures. For nearly a century, these works of art and decorations offered by governments and institutions encouraged smooth diplomacy and fluent international negotiations in the fields of labour, trade and human rights. On occasions hidden, removed and forgotten, and then recovered and restored, the history of the artworks in the Centre William Rappard represents the confrontation between art as diplomatic device and aesthetic experience, between representation and represented, between censorship and free expression. Even before its opening in 1926, the building started receiving works from the International Labour Organization member governments. Some pieces, such as the Geneva Window by Harry Clarke, never arrived in Geneva since it was censored by the Irish government. The Spanish Pygmalion by Eduardo Chicharro y Agüera was latter covered for its female nudity and remained hidden during decades. Later in the 1970s the secretariat of the General Agreement on Tariffs and Trade occupied the building and requested the removal of other major works. This was reversed in the 2010s by its successor the World Trade Organization, when many artworks were rediscovered, restored and placed in their original locations. However, new values in the world scene contributed to further changes in the building art, including the removal of Claude Namy’s caricature In GATT We Trust from public view in 2019. Art in the Centre William Rappard continues to speak to the viewer after waves of positive reception, censorship and recovery. Table of ContentsChapter 1: The Art Paradox: Between Love and Fear of the Image.Chapter 2: 1926 – Metaphors of Hope. Chapter 3: 1930 – “Sex and drunkenness and, yes, sin”: The Geneva Window that never arrived in Geneva.Chapter 4:1937 – “He wishes that it be removed”: Hiding Pygmalion.Chapter 5: 1977 – “Profane, almost sentimentalist, almost human”: The GATT Secretariat in the Centre William Rappard.Chapter 6: 2013 – Fresh Air: Rediscovering and Restoring Artworks.Chapter 7: 2020 – The end of humour.Chapter 8: Ars celare artem

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Book SynopsisA creative lifestyle is not a luxury, but a necessary elixir of life. Only with creativity can we overcome despair, hatred and violence, in the world and in ourselves. Using selected examples of exceptionally creative people, Rainer M. Holm-Hadulla encourages us to unleash our own creative and social potential.Readers become acquainted with Madonna and Amy Winehouse, John Lennon, Jim Morrison, and Mick Jagger. Before wandering through their lives and work in the interplay of constructive and destructive forces, they encounter the "Big Five of Creativity": talent, ability, motivation, resilience, favorable environments. The author has theoretically researched their interaction over decades, tested them in practice and drawn the conclusion: The creative transformation of human destructiveness is our chance to lead a fulfilled life in social responsibility.Table of ContentsContents 1. Part: Creativity – Essence of LifeEveryday and Extraordinary CreativityHealth and EnjoymentFive Basic Principles of Creativity on the Example ofW. A. Mozart, J. W. v. Goethe, Clara Schumann, Pablo Picasso and Marie CurieThe Creative Process Creative Coping of Depression and Aggression 2. Part: TheCreative Transformation of Despair, Hate and Violence byOutstandingPop-Stars MadonnaCiccone: Dancing for LifeJohn Lennon: The Dreamer Amy Winehouse: The Fallen AngelJim Morrison: The Shaman Mick Jagger: Sympathy for the Devil 3. Part: Consequences for a Creative Life-Style

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Book SynopsisResonating at the heart of Neolithic Childhood. Art in a False Present, c. 1930 is the question whether art has present, past, and future functions. The modernist assertion of the autonomy of art was intended to render superfluous art’s social and religious functions. But what if the functionlessness of art comes under suspicion of being instrumentalized by bourgeois capitalism? This was an accusation that informed the anti-modernist critique of the avant-garde, and particularly of Surrealism. The objective throughout the crisis-ridden present of the 1920s to the 1940s was to reaffirm a once ubiquitous, but long-lost functionality—not only of art.The publication accompanying the exhibition examines the strategies deployed in this reaffirmation. These include the surrealist Primitivism of an “Ethnology of the White Man” together with the excavation of the deep time of humanity—into the “Neolithic Childhood” mapped out by the notoriously anti-modernist Carl Einstein (1885-1940) as a hallucinatory retro-utopia. The volume brings together essays by the curators and academics involved in the project, primary texts by Carl Einstein and a comprehensive documentation of the exhibition including lists of works, texts on as well as images of numerous exhibits and finally installation views. At the center of the volume, a glossary discusses Carl Einstein’s own theoretical vocabulary as well as further associated terms, such as Autonomy, Formalism, Function, Gesture, Hallucination, Art, Metamorphosis, Primitivisms, Totality.With contributions by: Irene Albers, Philipp Albers, Joyce S. Cheng, Rosa Eidelpes, Carl Einstein, Anselm Franke, Charles W. Haxthausen, Tom Holert, Sven Lütticken, Ulrike Müller, Jenny Nachtigall, David Quigley, Cornelius Reiber, Erhard Schüttpelz, Kerstin Stakemeier, Maria Stavrinaki, Elena Vogman, Zairong Xiang, Sebastian ZeidlerWith reproductions of artworks by: Jean (Hans) Arp, Willi Baumeister, Georges Braque, Brassaï, Claude Cahun, Lux T. Feininger, Max Ernst, Florence Henri, Barbara Hepworth, Hannah Höch, Heinrich Hoerle, Paul Klee, Germaine Krull, Helen Levitt, André Masson, Alexandra Povòrina, Gaston-Louis Roux, Kalifala Sidibé, Louis Soutter, Yves Tanguy, Toyen, Jindřich Štyrský, Raoul Ubac, Paule Vézelay and others.

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Book SynopsisSergei Eisenstein’s cinematic adaptation of Karl Marx’s Capital was never realized, yet it has haunted the imagination of many filmmakers, historians, and philosophers to the present day. Dance of Values aims to conjure the phantom of Eisenstein’s Capital, presenting for the first time material from the full scope of the film project’s archival body. This “visual instruction in the dialectical method,” as Eisenstein called it, comprises more than five hundred pages of notes, drawings, press clippings, diagrams, negatives, theoretical reflections, and extensive quotations. Dance of Values explores the internal formal necessity underlying Eisenstein’s artistic choices, and argues that its brilliant adaptation of Marx’s Capital relied on the fragmentary and nonlinear state of its material. Published here for the first time, sequences from Eisenstein’s archival materials are presented in this volume not as mere illustrations but as arguments in their own right, a visual theorization of value.

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Book SynopsisAfter the Crisis offers a platform for discussions between some of today's leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.

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Book SynopsisStaging an exhibition as choreography, as drama, as opera, as a place where reality, politics, aesthetics, art, film, and music can address the issues of our day through documentaries, dialogues, science, activism, and creativity: This is the dream, the idea, and the mission of the “refaire le monde” exhibition trilogy at Helmhaus Zürich. The exhibition involves some eighty different authorial voices, bringing diverse attitudes and actions into the safe space of the museum. This book is both a documentation of these new values and new worlds and a guide to them. It is people-focused, positing the arts as the model for a new human reality. Refaire le monde features many artists, including: Ursula Biemann, Pascale Birchler, Corina Gamma, Vincent Glanzmann, Fabrice Gygi, A. C. Kupper, Asia Andrzejka Merlin, Gianni Motti, Tanja Roscic, Heidi Specogna, Bertold Stallmach, and many more, as well as all those who participated in various parallel events.

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Book SynopsisA multidisciplinary examination of the forms taken by withdrawal. What forms does withdrawal—meaning either that which withdraws itself or which is being withdrawn—take in artistic and cultural practices? What movements does it create or follow in specific contexts, and with what theoretical, material, and political consequences? The contributors to this book address these questions in a variety of writing practices, each focusing on specific scenes. Through interviews, artistic and literary texts, visual contributions, and academic texts, On Withdrawal explores various modalities of withdrawal, ranging from a silencing of critical voices to a political and aesthetic strategy of refusal. Contributors: Arnika Ahldag, Sofia Bempeza, Lauren Berlant, Kathrin Busch, Helen Cammock, Knut Ebeling, Sebastián Eduardo Dávila, Mutlu Ergün-Hamaz, Stefanie Graefe, Rebecca Hanna John, Ulrike Jordan, Pinar Ögrenci, Pallavi Paul, Thorsten Schneider, Judith Sieber, Diana Taylor, Deniz Utlu, Marivi Véliz, Nele Wulff, and Akram Zaatari

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Book SynopsisAlberto Giacometti's 1934 Cube stands apart for many as a typical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist's sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional - a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist's surrealist and realist phases and contains many elements of Giacometti's aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait - or what Didi-Huberman terms "abstract anthropomorphism." Drawing on Freud, Bataille, Leiris, and others whom Giacometti counted as influences, Didi-Huberman presents fans and collectors of Giacometti's art with a new approach to transitional work.Trade ReviewDidi-Huberman exploits the formal presence of "Cube "to construct a metaphoric and polyphonic interplay of critical facets which allows him to engage with a range of Giacometti s aesthetic investigations. --Timothy Mathews, author of Alberto Giacometti: The Art of Relation"

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Book SynopsisThe digital drawings of Yves Netzhammer invite viewers into a fascinating world of figures that appear both human and animal, while simultaneously blurring the distinction between object and living thing. By turns nightmarish or playful and cartoon-like, the creative cosmos depicted in Netzhammer's drawings imagines an alternate reality, in which precise lines bind impossible combinations of objects with careful clarity. Netzhammer ranks among the most renowned Swiss contemporary artists, his work comprising animation, video and sculptural installations, objects, and drawings. Concave Thoughts is a comprehensive resource on his work and imagery as well as an opulent art book.

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Book SynopsisImages play a key role in political communication and the ways we come to understand the power structures that shape society. Nowhere is this more evident than in the process of empire building, in which visual language has long been a highly effective means of overpowering another culture with one's own values and beliefs. Visualizing Portuguese Power examines the visual arts within the Portuguese empire between the sixteenth and eighteenth centuries. With a focus on the appropriation of Portuguese-Christian art within the colonies, the book looks at how these and other objects could be staged to generate new layers of meaning.

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Book SynopsisEl Hadji Sy is one of the most significant figures in African contemporary art. Since the late 1970s, the Senegalese artist and curator has helped shape the country's thriving art scene through his innovative painting and performance art. But El Sy is also an internationally recognized activist, having founded the collectives Laboratoire Agit-Art and Tenq, which aim to create contemporary art that engages with the country's pressing social and political issues. The first comprehensive publication on El Sy, this book places the artist's work in the context of activism in Senegal since the country gained independence from France in 1960. Included are critical essays by Hans Belting, Elvira Dyangani Ose, and Pablo Lafuente who explore post independence aesthetics and the effect of postwar relations between Germany and Senegal. The critical essays are supplemented with copious illustrations from the artist's archive - many never before seen - offering rare insight into African art before the Global Turn of 1989.

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