“Suzanne Scanlon enters the inverted space of grief and near-madness with courage, intelligence, and wit—and with a small, sharp light for us to follow.” —Dawn Raffel A series of fragmentary tales tells the story of Lizzie, a young woman who, in her early twenties, unexpectedly embarks on a journey through psychiatric institutions, a journey that will end up lasting many years. With echoes of Sylvia Plath, and against a cultural backdrop that includes Shakespeare, Woody Allen, and Heathers, Suzanne Scanlon’s first novel is both a deeply moving account of a life of crisis and a brilliantly original work of art.

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years). Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood. There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers. The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.

Maeve Chambers doesn't have much going for her. Not only does she feel like the sole idiot in a family of geniuses, she managed to drive away her best friend Lily a year ago. But when she finds a pack of dusty old tarot cards at school, and begins to give scarily accurate readings to the girls in her class, she realizes she's found her gift at last. Things are looking up--until she discovers a strange card in the deck that definitely shouldn't be there. And two days after she convinces her ex-best friend to have a reading, Lily disappears. Can Maeve, her new friend Fiona and Lily's older sibling Roe find her? And will Maeve's new gift be enough to bring Lily back, before she's gone for good?

"Two women ... give bad men exactly what they deserve--one an English professor/serial killer who murders the most evil man she knows each year, and the other a lost college freshman seeking vengeance after her best friend is sexually assaulted at a party"--

New York Times Bestseller "There is no writer quite like Dolly Alderton working today and very soon the world will know it.” —Lisa Taddeo, author of #1 New York Times bestseller Three Women “Dolly Alderton has always been a sparkling Roman candle of talent. She is funny, smart, and explosively engaged in the wonders and weirdness of the world. But what makes this memoir more than mere entertainment is the mature and sophisticated evolution that Alderton describes in these pages. It’s a beautifully told journey and a thoughtful, important book. I loved it.” —Elizabeth Gilbert, New York Times bestselling author of Eat, Pray, Love and City of Girls The wildly funny, occasionally heartbreaking internationally bestselling memoir about growing up, growing older, and learning to navigate friendships, jobs, loss, and love along the ride When it comes to the trials and triumphs of becoming an adult, journalist and former Sunday Times columnist Dolly Alderton has seen and tried it all. In her memoir, she vividly recounts falling in love, finding a job, getting drunk, getting dumped, realizing that Ivan from the corner shop might just be the only reliable man in her life, and that absolutely no one can ever compare to her best girlfriends. Everything I Know About Love is about bad dates, good friends and—above all else— realizing that you are enough. Glittering with wit and insight, heart and humor, Dolly Alderton’s unforgettable debut weaves together personal stories, satirical observations, a series of lists, recipes, and other vignettes that will strike a chord of recognition with women of every age—making you want to pick up the phone and tell your best friends all about it. Like Bridget Jones’ Diary but all true, Everything I Know About Love is about the struggles of early adulthood in all its terrifying and hopeful uncertainty.

Winner of the 2018 Richard Wall Memorial Award​ from the Theater Library Association Liberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Throughout the 1970s feminist reform efforts resulted in a noticeable rise in the number of women directors, yet at the same time the institutionalized sexism of Hollywood continued to create obstacles to closing the gender gap. Maya Montañez Smukler reveals that during this era there were an estimated sixteen women making independent and studio films: Penny Allen, Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. Drawing on interviews conducted by the author, Liberating Hollywood is the first study of women directors within the intersection of second wave feminism, civil rights legislation, and Hollywood to investigate the remarkable careers of these filmmakers during one of the most mythologized periods in American film history.

Film and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwind—all this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorship argues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970s—including video marketing, branded merchandise, drugs and alcohol, and even gun violence—and shows how objects considered peripheral to film and television culture are in fact central to its past and future.

INTERNATIONAL BESTSELLER • From the author of Everything I Know About Love comes a smart, sexy, laugh-out-loud romantic comedy about ex-boyfriends, imperfect parents, friends with kids, and a man who disappears the moment he says "I love you." “An absolute knock-out. Wickedly funny and, at turns, both cynical and sincere… feels like your very favorite friend.” —Taylor Jenkins Reid, author of Malibu Rising ONE OF THE BEST BOOKS OF THE YEAR: NPR, VOGUE, PEOPLE Nina Dean is not especially bothered that she's single. She owns her own apartment, she's about to publish her second book, she has a great relationship with her ex-boyfriend, and enough friends to keep her social calendar full and her hangovers plentiful. And when she downloads a dating app, she does the seemingly impossible: She meets a great guy on her first date. Max is handsome and built like a lumberjack; he has floppy blond hair and a stable job. But more surprising than anything else, Nina and Max have chemistry. Their conversations are witty and ironic, they both hate sports, they dance together like fools, they happily dig deep into the nuances of crappy music, and they create an entire universe of private jokes and chemical bliss. But when Max ghosts her, Nina is forced to deal with everything she's been trying so hard to ignore: her father's dementia is getting worse, and so is her mother's denial of it; her editor hates her new book idea; and her best friend from childhood is icing her out. Funny, tender, and eminently, movingly relatable, Ghosts is a whip-smart tale of relationships and modern life.

The United States is obsessed with virginity - from the media to schools to government agencies. This panic is ensuring that young women's ability to be moral agents is absolutely dependent on their sexuality. Jessica Valenti, executive editor of Feministing.com and author of Full Frontal Feminism and Yes Means Yes, addresses this poignant issue in her latest book, The Purity Myth. Valenti argues that the country's intense focus on chastity is extremely damaging to young women. Through in depth analysis of cultural stereotypes and media messages, Valenti reveals that powerful messages - ranging from abstinence curriculum to ''Girls Gone Wild'' commercials - place a young woman's worth entirely on her sexuality. Morals are therefore linked purely to sexual behavior, as opposed to values like honesty, kindness, and altruism. Valenti approaches the topic head-on, shedding light on chastity in a historical context, abstinence-only education, pornography, and public punishments for those who dare to have sex, among other critical issues. She also offers solutions that pave the way for a future without a damaging emphasis on virginity, including a call to rethink male sexuality and reframing the idea of ''losing it.'' With Valenti's usual balance of intelligence and wit, The Purity Myth presents a powerful and revolutionary argument that girls and women, even in this day and age, are overly valued for their sexuality, and that this needs to stop.

Often considered the lowest depth to which cinema can plummet, the rape-revenge film is broadly dismissed as fundamentally exploitative and sensational, catering only to a demented, regressive demographic. This second edition, ten years after the first, continues the assessment of these films and the discourse they provoke. Included is a new chapter about women-directed rape-revenge films, a phenomenon that--revitalized since #MeToo exploded in late 2017--is a filmmaking tradition with a history that transcends a contemporary context. Featuring both famous and unknown movies, controversial and widely celebrated filmmakers, as well as rape-revenge cinema from around the world, this revised edition demonstrates that diverse and often contradictory treatments of sexual violence exist simultaneously.