"One of the sharpest and most productive analyses of our contemporaneity and the place of cinema within it and of our new historical relations as spectators to the imaginary universe on the movie screen. This is a study that will be of intense interest to film theorists and historians, cultural critics, mass media analysts, and anyone concerned with the complicated place of culture in our world today."--Dana Polan, English and Film Studies, University of Pittsburgh How have modern advertising techniques, the widespread use of VCRs, conglomerate takeovers of studios and film archives, cable TV, and media coverage of the Vietnam war changed the ways we watch movies? And how, in turn, have those different habits and patterns of viewing changed the ways in which films address their viewers? Drawing on a wide variety of American and European films and on many theoretical models, Timothy Corrigan investigates what he calls "a cinema without walls," taking a close look at particular films in order to see how we watch them differently in the post-Vietnam era. He examines cult audiences, narrative structure, genre films (road movies, in particular), and contemporary politics as they engage new models of film making and viewing. He thus provides a rare, serious attempt to deal with contemporary movies. Corrigan discusses filmmakers from a variety of backgrounds and cultures, including Martin Scorsese, Raoul Ruiz, Michael Cimino, Alexander Kluge, Francis Ford Coppola, Stephen Frears, and Wim Wenders. He offers detailed analyses of films such as Platoon; Full Metal Jacket; 9-1/2 Weeks; The Singing Detective; Choose Me; After Hours; Badlands; The King of Comedy; Paris, Texas; and My Beautiful Laundrette. Orchestrating this diversity, Corrigan provides a critical basis for making sense of contemporary film culture and its major achievements. Timothy Corrigan is a professor of English and film at Temple University. He is the author of Writing about Film and New German Film: The Displaced Image, and editor of The Films of Werner Herzog: Between Mirage and History.

Combining vivid description with thoughtful analysis, Sara Mitter reveals the condititions that shape women's lives in a traditional, patriarchal society. Mitter introduces us to diverse women who live and work in Bombay, from construction crew laborers and illiterate domestic workers who live in shanties, to well-educated, middle-class women. She also confronts the question of gender in Indian society, as she examines the influence of the Goddess mythology and the persistence of such normative models as Sita of the Ramayana in contemporary daily life. In a final section, Mitter tells of the increasing moblilization and resistance of Indian women since the 1970s. She looks at the nature of the conflicts and choices facing Indian women today, and the potential consequences for the India of tomorrow. Sara S. Mitter is an American writer based in Paris. Married to an Indian physicist, she has made many visits to India and has lived there for periods of her life.

Time and the Town was the last of Mary Heaton Vorse's books. It is about many things — a town and its people, the author, a certain kind of idyllic life. As much as anything else, it is the biography of the house Vorse bought in 1907 and lived in, off and on, for the next thirty-six years. The moods of the house mirrored her own. "Our houses," she wrote, "are our biographies, the stories of our defeats and victories."

In Blanca Muratorio's book, we are introduced to Rucuyaya Alonso, an elderly Quichua Indian of the Upper Ecuadorean Amazon. Alonso is a hunter, but like most Quichuas, he has done other work as well, bearing loads, panning gold, tapping rubber trees, and working for Shell Oil. He tells of his work, his hunting, his marriage, his fights, his fears, and his dreams. His story covers about a century because he incorporates the oral tradition of his father and grandfather along with his own memories. Through his life story, we learn about the social and economic life of that region. 

Perhaps the most salient feature of the stories collected here is their presentation of the multiplicity of voices of Caribbean women: Parable II, No Dust is Allowed in This House, of Nuns and Punishment, Reminds us of the accomplishments of Caribbean women and promise of their writing.

President Johnson would not compromise or equivocate on civil rights. John Kennedy of Massachusetts yielded to the pressure of events and became an ally of the movement, despite his fear that supporting civil rights could cost him votes in Congress and the nation. Lyndon Johnson of Texas, whom liberals loathed because he often gutted their prize legislation, became the committed champion of civil rights. Together their administrations became synonymous with the Second Reconstruction, though neither president had a prior record of strong civil rights commitment. Mark Stern explains how each man pursued power and votes, and ultimately redirected his own course of action and altered the nation's future.

The contributors to this volume have written a synthetic overview of the history of the health experience of women in America. We see women as actors and reactors, as healers and patients, as well as objects of medical and sociological research. The contributors emphasize the theme of medicalization, that is, the increasing reach of professional medicine into areas previously considered outside the domain of medical practice. 

This first collection of fiction by Anjana Appachana provides stories that are beautifully written, the characters in them carefully and respectfully drawn. All the stories are set in India, but the people in them seem somehow displaced within their own society--a society in transition but a transition that does not come fast enough to help them. Appachana manages to capture the pervasive humor, poignancy, and self-delusion of the lives of the people she observes, but she does so without seeming to pass judgments on them.

Through a systematic comparison of the life circumstances, child-rearing practices, and personalities of the FulBe and their former slaves, the RiimaayBe, this book develops an alternative theory of the way personality is formed in the Fulani society of West Africa. Riesman discusses the different characters, economies, and life plans of adult men and women of both groups, focusing on their ideas about the value of relatives. He further presents detailed observations of child-rearing practices, and concludes that the FulBe and RiimaayBe do not differ in these practices.

Bio/Pics is the first comprehensive study of a once important film genre, the biographical film. Using previously unavailable archival materials from Twentieth Century-Fox, Warner Bros., MGM, and RKO studios, as well as censorship files from the Production Code Administration, George Custen argues that, through these films, Hollywood manufactured a nearly monochromatic view of history that was systematically distorted in regard to race, gender, nationality, and profession.

This publication marks the first time in a hundred years that a wide range of nineteenth-century American women's poetry has been accessible to the general public in a single volume. Included are the humorous parodies of Phoebe Cary and Mary Weston Fordham and the stirring abolitionist poems of Lydia Sigourney, Frances Harper, Maria Lowell, and Rose Terry Cooke. Included, too, are haunting reflections on madness, drug use, and suicide of women whose lives, as Cheryl Walker explains, were often as melodramatic as the poems they composed and published.