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This evocative entanglement of life and death, joy and horror, natural and artificial processes and particles offers an intriguing lyrical and poetic quality as well as unique perspectives through the lenses of feminist, queer, and disability studies.

With a chapter for each month of the Hebrew calendar, For Time Such as These offers spiritual practices and holiday rituals rooted in movements for racial justice, decolonization, feminism, and queer and trans liberation. Rabbi Ariana Katz and Rabbi Jessica Rosenberg offer ways to approach Jewish time, Torah, and traditional Jewish practice that draws on embodied ritual, mystical tradition, anti-Zionist politics, and creative direct action. Accompanying each chapter is an incantation written by liturgist and healer Dori Midnight and illuminated by Sol Weiss.

Telotte illuminates Science Fiction Theatre as a touchstone for understanding the development of science fiction media and the dynamic nature of early television broadcasting.

At the start of the Ford Motor Company in 1903, the Dodge Brothers supplied nearly every car part needed by the up-and-coming auto giant. After fifteen years of operating a successful automotive supplier company, John and Horace Dodge again changed the face of the automotive market in 1914 by introducing their own car. The Dodge Brothers automobile carried on their names even after their untimely deaths in 1920, which led to its sale in 1925 to New York bankers and subsequent purchase in 1928 by Walter Chrysler. Hyde not only details the brothers' lives and influence on automotive manufacturing and marketing trends in the early part of the twentieth century but also their civic contributions to Detroit, their hiring of African Americans and women, and their often anonymous charitable contributions to local organizations. Despite their achievements and their critical role in the early success of Henry Ford, John and Horace Dodge are usually overlooked in histories of the early automotive industry, but Hyde has put them front and center again to appropriately credit their lasting legacy.

How do we identify the "queer auteur" and their queer imaginings? Is it possible to account for such a figure when the very terms "queer" and "auteur" invoke aesthetic surprises and disorientations, disconcerting ironies and paradoxes, and biographical deceits and ambiguities? In eighteen eloquent chapters, David A. Gerstner traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, Jean Louis Baudry, Linda Nochlin, Jane Gallop, Cáel Keegan, Luce Irigaray, and other prominent critical thinkers, Gerstner contemplates how the queer auteur in film theory might open us to the work of desire. Queer Imaginings argues for a queer-auteur in which critical theory is reenabled to reconceptualize the auteur in relation to race, gender, sexuality, and desire. Gerstner succinctly defines the contours of a history and the ongoing discussions that situate queer and auteur theories in film studies. Ultimately, Queer Imaginings is a journey in shared pleasures in which writing for and about cinema makes way for unanticipated cinematic friendships.

This book introduces him to a new generation of readers, historians, and social justice activists.

Presents a collection of twenty-eight chapters in Hebrew of rhymed prose and poetry written by the poet and amateur philosopher Immanuel of Rome during an era of rapid political change in late medieval Italy.

Traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, and other prominent critical thinkers, David Gerstner contemplates how the queer auteur in film theory might open us to the work of desire.

Argues that Jewish women graphic novelists are preoccupied with embodied memory: the way the body materializes memory. This book investigates how memory manifests in the drawn shape of the body as an expression of the weight of personal and collective histories.

Explores the diverse world of collecting film- and media-related materials. The book interrogates and illustrates the meaning and practical nature of film and media collections while also considering the vast array of personal and professional motivations behind their assemblage.