Olivia Daley's travel itinerary might be unusual, but she believes the best cure for a broken heart is a radical change of scenery. Exotic, vibrant China is far enough from rainy gray England to be just that! In the hustle and bustle of Beijing, Olivia is starting a whole new adventure…. She's mesmerized by the ancient legends of love, and soon finds herself wishing she could be the bride who wore red.

In her fascinating, funny, and provocative debut, Robbie Clipper Sethi explores the perils and rewards of cross-cultural marriage. Thirteen linked stories follow the marriages of three couples for three decades, from the late 1960s to the present, as husbands and wives confront and overcome the hazards of clashing cultures.

The silk road to romance Olivia Daley's travel itinerary might be unusual, but she believes the best cure for a broken heart is a radical change of scenery. Exotic, vibrant China is far enough from rainy grey England to be just that! In the hustle and bustle of Beijing, Olivia is starting a whole new adventure She's mesmerised by the ancient legends of love, and soon finds herself wishing she could be the bride who wore red

Dorothy Arzner was the exception in Hollywood film history—the one woman who succeeded as a director, in a career that spanned three decades. In Part One, Dorothy Arzner's film career—her work as a film editor to her directorial debut, to her departure from Hollywood in 1943—is documented, with particular attention to Arzner's roles as "star-maker" and "woman's director." In Part Two, Mayne analyzes a number of Arzner's films and discusses how feminist preoccupations shape them, from the women's communities central to Dance, Girl, Dance and The Wild Party to critiques of the heterosexual couple in Christopher Strong and Craig's Wife. Part Three treats Arzner's lesbianism and the role that desire between women played in her career, her life, and her films.

Wedding Vows Were Meant to Be Kept! There was an old story about the Cade men: they only love once…but when they do, it's for eternity! But where did that leave an ordinary working girl like Fabia? Alex Cade had made it clear that he needed her solely for business purposes. Yet, somehow, nothing could stop the pangs of jealousy that pierced Fabia's heart whenever glamorous widow Susan latched on to Alex! Fabia was determined not to give in to her feelings. She had made a vow, and it was one she didn't take lightly…that if she was foolish enough to fall in love, then she would wear black on her wedding day!

Joan Crawford: the name has an enduring fascination. Forty-five years after her death, Crawford remains a familiar icon in pop culture and the entertainment world. Certainly the camp bathos of Mommie Dearest has played a part in her continued relevance. But it is ultimately her work and career themselves that account for her remarkable longevity in the culture. From her first film in 1925, to her rise to stardom in 1928, and on to the hit films she appeared in through the 1960s, she continually molded and remolded herself, crafting an indelible image and ensuring her place in the American pantheon. STARRING JOAN CRAWFORD is a rollicking exploration of the powerful women Joan Crawford vividly brought to life in her films—and the lasting, ever-evolving impact she has had on popular culture.Having carved out a revolutionary path through the entertainment industry while relying on men as little as possible—whether her studio bosses or her many husbands—she created a gallery of strong, assertive women who outsmarted men and refused to conform to gender expectations. In movies like Mildred Pierce, The Damned Don't Cry, Johnny Guitar, and What Ever Happened to Baby Jane?, among many others, she played to win, becoming a lodestar to LGBT audiences, a model of feminist self-determination for women, and an unforgettable icon for everyone.

From products we use to clothes we wear, and spaces we inhabit, we rely on colour to provide visual appeal, data codes and meaning. Color and Design addresses how we understand and experience colour, and through specific examples explores how colour is used in a spectrum of design-based disciplines including apparel design, graphic design, interior design, and product design. Through highly engaging contributions from a wide range of international scholars and practitioners, the book explores colour as an individual and cultural phenomenon, as a pragmatic device for communication, and as a valuable marketing tool. Color and Design provides a comprehensive overview for scholars and an accessible text for students on a range of courses within design, fashion, cultural studies, anthropology, sociology and visual and material culture. Its exploration of colour in marketing as well as design makes this book an invaluable resource for professional designers. It will also allow practitioners to understand how and why colour is so extensively varied and offers such enormous potential to communicate.

Rabbit in the Moon spans the years 1937-1951 (Shanghai & Hong Kong) and 1952-1956 (British Columbia). It captures a unique childhood in war-torn Shanghai and deals with the sights, sounds, and impressions of life in the International Settlement seen through the different levels of a child's maturation. It is a story of separation from home to a boarding school halfway across the world, which is as final as death. It also depicts the human condition of coping with the unknown, a devastating illness, and the resiliency of the young. Rabbit in the Moon gives insight into boarding school life in British Columbia and the life-long friendships formed in school. S. Grey Brewer lives in Sanford and received her BA and MA in English Literature from the University of Central Florida. She taught English at Seminole Community College from 1984-2007, was a holistic reader for the State of Florida's CLAST, Educational Testing Services GMAT and AP. In addition, she has been published in various literary magazines, among them SCETC Journals, The Camaraderie, Revelry, A Carolina Companion, 90 Poets of the Nineties, It's About Time, Reflections from Central Florida. She is also a past award-winning reader for nonfiction for the Florida Literary Arts Alliance and is the author of Thistledown and Transcending Boundaries.

Now, Voyager, Stella Dallas, Leaver Her to Heaven, Imitation of Life, Mildred Pierce, Gilda…these are only a few of the hundreds of “women’s films” that poured out of Hollywood during the thirties, forties, and fifties. The films were widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream—of romance, sexuality, luxury, suffering, or even wickedness—and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman’s most important job was…to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women’s films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman’s genre—among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as “noble” as it appears. Basinger looks at the stars who played these women and helps us understand the qualities—the right off-screen personae, the right on-screen attitudes, the right faces—that made them personify the woman’s film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discusses—whether melodrama, screwball comedy, musical, film noir, western, or biopic—a woman occupies the center of her particular universe. Her story—in its endless variations of rags to riches, boy meets girl, battle of the sexes, mother love, doomed romance—inevitably sends a highly potent mixed message: Yes, you women belong in your “proper place” (that is, content with the Big Three of the women’s film world—men, marriage, and motherhood), but meanwhile, and paradoxically, see what fun, glamour, and power you can enjoy along the way. A Woman’s View deepens our understanding of the times and circumstances and attitudes out of which these movies were created.