The Women of Woodcock is the companion photo book to the just released award-nominated film Phantom Thread, from the auteur director Paul Thomas Anderson...the film portrays an uncompromising fashion couturier in 1950s London -- and the women that surrounded him: clients that included royalty, society debutantes, and heiresses, as well as his sister who runs the fashions house, the seamstresses, and his mistresses... the English photographer Laura Hynd documented the fictional House of Woodcock...Through her camera, all the women in the (fictional) House of Woodcock, from royalty to atelier staff, are celebrated equally -- a deliberate concept supported and highlighted by the inclusion of handful carefully selected frames from the movie.

A brand new 1920s mystery with a sinister twist. Unappreciated at her father’s detective agency, the fabulous, rabbit-loving Minky Woodcock straps on her gumshoes in order to uncover a magical mystery involving the world-famous escape artist, Harry Houdini. Created by acclaimed artist, author, director and playwright Cynthia von Buhler (Speakeasy Dollhouse, Evelyn Evelyn, Emily and the Strangers)!

‘Teacher for Justice is a major contribution to the history of the women’s movement, working‑class activism and Australian political internationalism. But it is more than this. By focusing on the life of Lucy Woodcock – an unrecognised and under-researched figure – this book rewrites the history of twentieth-century Australia from the perspective of an activist who challenged conventions to fight for gender, race and class equality, exploring the complex and multi-layered intersections of these aspects. It explores Woodcock’s personal relationships and the circles she mixed in and the friendships she forged, as well as the conventions she challenged as a single woman in possibly a same-sex relationship. The book makes a key contribution to the history of progressive education and the experience of women teachers. Above all, it charts the life of a transnational figure who made connections globally and, in particular, with refugees and with women in India and the Asian region. It is a detailed, thoroughly researched and richly textured history which places Woodcock within the context of the times in which she lived.’ Joy Damousi, Professor of History, University of Melbourne ‘Meet Lucy Woodcock, a complex, undaunted woman in a tough and changing world. From her role as a public school principal in Depression and wartime, to her union and feminist organising, to her transnational engagements for peace, this clear and thoughtful book brings to life forgotten forms of activism. It’s the gripping story of how Lucy navigated the minefields of gender, class, race and coloniality to change her world.’ Raewyn Connell, Professor Emerita, University of Sydney ‘Just over a century ago, the last of the pupil-teachers, Lucy Woodcock, co-founded the NSW Teachers Federation. So many of the principles and traditions that underpin our union today can be traced back to the lifelong work of Lucy Woodcock. She fought for the industrial rights of teachers deep in the knowledge of the broader social and economic context in which she lived and worked. Too often the role of working-class women whose influence is profound is ignored. This biography installs Lucy Woodcock into her rightful place as pivotal player in the history of twentieth-century Australia.’ Maurie Mulheron, President, NSW Teachers Federation ‘A fascinating history of a fascinating woman: Lucy’s interests were so broad and so modern – equal pay, racism, internationalism, Indigenous rights and anti-war struggles were all part of Lucy’s world. She had a vision beyond nationalism, championed the cause of world peace when peace was being treated as a dirty word and saw women as global citizens. Lucy was one of the heroes of our disgracefully unfinished Equal Pay struggle.’ Hon Dr Meredith Burgmann, anti-racism and peace activist, former President of the NSW Legislative Council

As Americans rethought sex in the twentieth century, the Catholic Church's teachings on the divisive issue of contraception in marriage were in many ways central. In a fascinating history, Leslie Woodcock Tentler traces changing attitudes: from the late nineteenth century, when religious leaders of every variety were largely united in their opposition to contraception; to the 1920s, when distillations of Freud and the works of family planning reformers like Margaret Sanger began to reach a popular audience; to the Depression years, during which even conservative Protestant denominations quietly dropped prohibitions against marital birth control. Catholics and Contraception carefully examines the intimate dilemmas of pastoral counseling in matters of sexual conduct. Tentler makes it clear that uneasy negotiations were always necessary between clerical and lay authority. As the Catholic Church found itself isolated in its strictures against contraception—and the object of damaging rhetoric in the public debate over legal birth control—support of the Church's teachings on contraception became a mark of Catholic identity, for better and for worse. Tentler draws on evidence from pastoral literature, sermons, lay writings, private correspondence, and interviews with fifty-six priests ordained between 1938 and 1968, concluding, "the recent history of American Catholicism... can only be understood by taking birth control into account."

An illustrated mid-career monograph exploring the 30-year creative journey of the 8-time Academy Award–nominated writer and director Paul Thomas Anderson has been described as "one of American film's modern masters" and "the foremost filmmaking talent of his generation." Anderson's ï¬?lms have received 25 Academy Award nominations, and he has worked closely with many of the most accomplished actors of our time, including Lesley Ann Manville, Julianne Moore, Daniel Day-Lewis, Joaquin Phoenix, and Philip Seymour Hoffman. In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short ï¬?lms—is examined in illustrated detail for the ï¬?rst time. Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by ï¬?rsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by ï¬?lm stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

A brand new graphic novel by acclaimed artist, author, director and playwright, Cynthia Von Buhler! Back in the detective saddle, the fabulous, rabbit-loving Minky Woodcock straps on her gumshoes and uncovers a disturbing case involving the mysterious inventor, Nikola Tesla. Hired by business tycoon J.P. Morgan Jr, Minky sets out to investigate the validity of the claims that eccentric inventor Tesla has created a Death Ray Machine. But things take a turn when Minky befriends the gentle recluse and uncovers a plot involving Nazis who are also interested in the fabled weapon! With twists and turns abound, the sassy and sexy detective is once again on the hunt for the truth against the backdrop of a tense and exciting 40s America.

The Woman of Colour is a unique literary account of a black heiress’ life immediately after the abolition of the British slave trade. Olivia Fairfield, the biracial heroine and orphaned daughter of a slaveholder, must travel from Jamaica to England, and as a condition of her father’s will either marry her Caucasian first cousin or become dependent on his mercenary elder brother and sister-in-law. As Olivia decides between these two conflicting possibilities, her letters recount her impressions of Britain and its inhabitants as only a black woman could record them. She gives scathing descriptions of London, Bristol, and the British, as well as progressive critiques of race, racism, and slavery. The narrative follows her life from the heights of her arranged marriage to its swift descent into annulment and destitution, only to culminate in her resurrection as a self-proclaimed “widow” who flouts the conventional marriage plot. The appendices, which include contemporary reviews of the novel, historical documents on race and inheritance in Jamaica, and examples of other women of colour in early British prose fiction, will further inspire readers to rethink issues of race, gender, class, and empire from an African woman’s perspective.

The ideal companion to the text and the film adaptation

Detectives Brough and Miller return for a third investigation when the pubs of Dedley are the sites for the appearance of mysterious, demonic footprints. Brough has to face a demon from his past and Miller finds it's not plain sailing forming a relationship with a colleague. Fans of crime fiction with a sense of humour will enjoy this follow-up to 'Blood & Breakfast' and 'Grey Ladies'.