Brutal Intimacy is the first book to explore the fascinating films of contemporary France, ranging from mainstream genre spectaculars to arthouse experiments, and from wildly popular hits to films that deliberately alienate the viewer. Twenty-first-century France is a major source of international cinema—diverse and dynamic, embattled yet prosperous—a national cinema offering something for everyone. Tim Palmer investigates France's growing population of women filmmakers, its buoyant vanguard of first-time filmmakers, the rise of the controversial cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noé, and stars such as Vincent Cassel and Jean Dujardin. Analyzing dozens of breakthrough films, Brutal Intimacy situates infamous titles alongside many yet to be studied in the English language. Drawing on interviews and the testimony of leading film artists, Brutal Intimacy promises to be an influential treatment of French cinema today, its evolving rivalry with Hollywood, and its ambitious pursuits of audiences in Europe, North America, and around the world.

Communal Intimacy and the Violence of Politics explores the notoriously brutal Philippine war on drugs from below. Steffen Bo Jensen and Karl Hapal examine how the war on drugs folded itself into communal and intimate spheres in one Manila neighborhood, Bagong Silang. Police killings have been regular occurrences since the birth of Bagong Silang. Communal Intimacy and the Violence of Politics shows that although the drug war was introduced from the outside, it fit into and perpetuated already existing gendered and generational structures. In Bagong Silang, the war on drugs implicated local structures of authority, including a justice system that had always been deeply integrated into communal relations. The ways in which the war on drugs transformed these intimate relations between the state and its citizens, and between neighbors, may turn out to be the most lasting impact of Duterte's infamously violent policies.

"A warm and expansive portrait of a woman’s mind that feels at once singular and universal," this collection of essays interweaves commentary on modern life, feminism, art, and sex with the author's own experiences of obsession, heartbreak, and vulnerability (BuzzFeed). Like a song that feels written just for you, Larissa Pham's debut work of nonfiction captures the imagination and refuses to let go. Pop Song is a book about love and about falling in love—with a place, or a painting, or a person—and the joy and terror inherent in the experience of that love. Plumbing the well of culture for clues and patterns about love and loss—from Agnes Martin's abstract paintings to James Turrell's transcendent light works, and Anne Carson's Eros the Bittersweet to Frank Ocean's Blonde—Pham writes of her youthful attempts to find meaning in travel, sex, drugs, and art, before sensing that she might need to turn her gaze upon herself. Pop Song is also a book about distances, near and far. As she travels from Taos, New Mexico, to Shanghai, China and beyond, Pham meditates on the miles we are willing to cover to get away from ourselves, or those who hurt us, and the impossible gaps that can exist between two people sharing a bed. Pop Song is a book about all the routes by which we might escape our own needs before finally finding a way home. There is heartache in these pages, but Pham's electric ways of seeing create a perfectly fractured portrait of modern intimacy that is triumphant in both its vulnerability and restlessness. "Each of the essays in this debut collection reads like a mini-memoir . . . in which the author reflects on her experiences of young love, trauma, and transcendence through discussions of art and music . . . with an intimacy that is at once tender and expansive." —New York magazine

Real Sex Films explores one of the most controversial movements in international cinema through an innovative interdisciplinary combination of theories of globalization and embodiment. Risk sociology, feminist film theory, and critical feminist mapping theory are brought together with concepts of production, narrative, genre, authorship, stardom, spectatorship, and social audience as several lenses of understanding and extension in ways of seeing real-sex cinema. Notions of personal subjectivity and critical distance, disciplinary co-operation and critique, and cinematic perceptions of the utopia and dystopia of love within risk modernity are the tensions exposed reflexively and in parallel, as each chapter focuses different lenses communicating intimacy, desire, risk and transgression. This book substantively, methodologically, and theoretically embraces and engages in its consideration of the images, ethics, double standards, and embodiments of brutal cinema. Crossing the boundaries of film studies, media and cultural studies, the ethnographic turn, risk sociology, feminist psychoanalytical, and geopolitical studies, this is a book for students, academics, as well as general and professional audiences.

Relationships are incredibly rewarding, but the truth is that they require a lot of hard work. If you want lasting love, you absolutely have to put some effort in. This book, which explores the more practical aspects of building a life with the person you love, will resonate with couples ready to embrace honesty in the name of strengthening their bond and anyone else committed to understanding intimacy for what it really is.

In exploring an array of intimacies between global migrants Nayan Shah illuminates a stunning, transient world of heterogeneous social relations—dignified, collaborative, and illicit. At the same time he demonstrates how the United States and Canada, in collusion with each other, actively sought to exclude and dispossess nonwhite races. Stranger Intimacy reveals the intersections between capitalism, the state's treatment of immigrants, sexual citizenship, and racism in the first half of the twentieth century.

Reproduction of the original: Studies in the Psychology of Sex by Havelock Ellis

Sexual inversion, as here understood, means sexual instinct turned by inborn constitutional abnormality toward persons of the same sex. It is thus a narrower term than homosexuality, which includes all sexual attractions between persons of the same sex, even when seemingly due to the accidental absence of the natural objects of sexual attraction, a phenomenon of wide occurrence among all human races and among most of the higher animals. It is only during recent years that sexual inversion has been recognized; previously it was not distinguished from homosexuality in general, and homosexuality was regarded as a national custom, as an individual vice, or as an unimportant episode in grave forms of insanity.[1] We have further to distinguish sexual inversion and all other forms of homosexuality from another kind of inversion which usually remains, so far as the sexual impulse itself is concerned, heterosexual, that is to say, normal. Inversion of this kind leads a person to feel like a person of the opposite sex, and to adopt, so far as possible, the tastes, habits, and dress of the opposite sex, while the direction of the sexual impulse remains normal. This condition I term sexo-esthetic inversion, or Eonism. The nomenclature of the highly important form of sexual perversion with which we are here concerned is extremely varied, and most investigators have been much puzzled in coming to a conclusion as to the best, most exact, and at the same time most colorless names to apply to it. The first in the field in modern times was Ulrichs who, as early as 1862, used the appellation "Uranian" (Uranier), based on the well-known myth in Plato's Banquet. Later he Germanized this term into "Urning" for the male, and "Urningin" for the female, and referred to the condition itself as "Urningtum." He also invented a number of other related terms on the same basis; some of these terms have had a considerable vogue, but they are too fanciful and high-strung to secure general acceptance. If used in other languages than German they certainly should not be used in their Germanized shape, and it is scarcely legitimate to use the term "Urning" in English. "Uranian" is more correct.

Both India and South Africa have shared the infamy of being labelled the world’s ‘rape capitals’, with high levels of everyday gender-based and sexual violence. At the same time, both boast long histories of resisting such violence and its location in wider cultures of patriarchy, settler colonialism and class and caste privilege. Through the lens of the #MeToo moment, the book tracks histories of feminist organising in both countries, while also revealing how newer strategies extended or limited these struggles. Intimacy and injury is a timely mapping of a shifting political field around gender-based violence in the global south. In proposing comparative, interdisciplinary, ethnographically rich and analytically astute reflections on #MeToo, it provides new and potentially transformative directions to scholarly debates this book builds transnational feminist knowledge and solidarity in and across the global south.

Studies in the Psychology of Sex, Volume 1, is the first of six volumes by English physician Havelock Ellis. First published in 1897, the book is part of a huge study on sexuality. Ellis was also a pioneer in the study of psychedelic drugs, introduced the concepts of narcissism and autoeroticism, and published works on transgender psychology. He was in favour of feminism as he saw that the improved choices given to women would benefit humans overall. This first volume includes; The Evolution of Modesty; The Phenomena of Sexual Periodicity; and, Auto-Eroticism, a Study of the Spontaneous Manifestations of the Sexual Impulse. Full chapter list. № 67 in Anne Haight's List of Banned Books.