Grace Richardson is a young mortal woman whose only concerns are providing for her family, playing her violin, and spending as much time as possible with her brother, Leo. When Leo goes into service in the Fae’s world as a mercenary, she expects him to return with the honor that he deserves. When Leo suddenly dies in an unspecified accident, not a word, medal, or penny comes down from the higher-ups. Suspecting foul play, Grace disguises herself as a Fae and sneaks into the Upper Realm to get some answers. She anticipates being in way over her head, but the Fae soldier who discovers her true identity only a day in? Not so much. Now Grace is forced to drag Aiden along as she tries to work out exactly how and why her brother died. Along the way, she has no choice but to confront her prejudices against the Fae as she attempts to sort out the difference between the honest and the dishonest. Political conspiracies, demon realm escapades, and family secrets will all lead Grace to the answers she’s looking for… and some that she isn’t. Join the adventure in Chasing Fae, Book 1 of the Chasing Fae Trilogy!

“We are on our own now … From here on out, we win or lose on our own merit. We either save the realm, or we condemn it to burn.” With the war in the Upper Realm in full swing, Grace has her hands full fighting for a society that has only just begun to accept her as its own. The House of Darkness and High Lord Carron only grow stronger, and with demonic magic involved, there’s no telling what havoc the enemy plans to wreak across the Three Realms. She has no time to think about Aiden’s return to the House of the Evening and her conflicting feelings for him. And there’s no time to confront Faolan about the kiss they shared and what might be brewing between them. There are battles to fight, lands to liberate, and, most importantly, an all-too-pressing prophecy to decipher. Caught in a vicious cycle of victory and defeat, Grace has to confront her heritage once and for all and fulfill the prophecy with her friends by any means necessary, whether or not it is the fate that she desires for herself.

The story began with a young woman, a terrible loss, and a great secret lurking under the surface of the Three Realms. Now, readers will discover the stories of the family members who affected Grace Richardson’s past, present, and future. From the universe of the Chasing Fae Trilogy comes three short stories that capture crucial characters in Grace Richardson’s life and the events that led up to the beginning of the trilogy. In A Chance Meeting, Amelia Richardson, Grace’s future mother, meets Alexander Faelie, Grace’s future father, for the first time during one of his escapes from the Fae Upper Realm to the mortal Middle Realm. She works to teach him the joy of art and creation and learns a little bit about seizing life herself. In Taking My Place, Elise, Alexander’s future wife, finds herself meeting this future High Lord several times throughout their lives. And though she may not seem like she has a chance of marriage with so many other wealthy daughters throwing themselves at Alexander, she intends to take her place in the House of the Evening no matter who gets in her way — as High Lady. In Coming To Terms, Grace’s half-brother Neil has lived his entire life never having to compete for anything, whether it be the House of the Evening’s heirship, his family’s love, or the respect of the people. But when his father brings home a bastard daughter to take over his crown, his entire world gets thrown into a tailspin. Chasing The Past expands readers’ knowledge of the Three Realms and the people who crossed Grace’s path with the same strong women and powerful family themes that Cady Hammer is known for.

Expect the unexpected when you take your place in Fae society. When Grace arrives at the House of the Evening, she is instantly thrust into the world of the Fae nobility. As the heir to a throne she didn’t even realize was hers, she has to navigate magical education, complex traditions, and a stepfamily she never asked for. With her new tutor, Talon, and Aiden by her side, Grace steps out into the Upper Realm as Lady of the House of the Evening only to find a war exploding under her gaze led by the House of Darkness. With minimal training and outdated laws keeping her from stepping up for the war effort, she and Aiden must quickly strategize against the invaders while searching in earnest for the remaining six prophecy members. As the war rages on and more pieces of the puzzle fall into place, Grace must make a decision about who to trust and how to lead.

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.

‘Realism’ is a pervasive term in discussions of contemporary developments in the cultural sphere. By drawing on different theories of realism, the authors explore how the term may be used as a helpful concept in order to analyse and evaluate current trends in cultural production and, in turn, how cultural production changes our understanding of what counts as ‘realism’. The contributions deal with realism in narrative fiction, drama and audiovisual media (film, television news) within the context of national traditions: examples drawn on in the case studies range from Africa, Britain, Germany, Iceland, Russia, Turkey to the United States. While the authors take their cues from media-specific ‘realisms’, focusing especially on narrative fiction, the volume also highlights continuities and intersections between notions of realism in different genres and media. With its original essays, this collection invigorates the transdisciplinary engagement with forms and socio-political functions of realism in contemporary culture.

Quotations are a standard way that the humanities make meaning; the pull-quote, epigraph, and quotation are standard for citing evidence and invoking and interrogating authority in both literary and scholarly writing. However, film studies has yet to seriously examine how moving images can quote one another, convening interaction and creating new knowledge across time. Classical Projections offers film quotation as a new concept for understanding how preexisting moving image fragments are reframed and re-viewed within subsequent films. As a visual corollary to literary quotation, film quotations embed film fragments in on-screen movie screens. Though film quotations have appeared since silent cinema, Classical Projections focuses on quotations of classical Hollywood film--mainstream American studio production, 1915-1950--as quoted in post-classical Hollywood, roughly 1960 to present. This strategic historical frame asks: how does post-classical cinema visualize its awareness of coming after a classical or golden age? How do post-classical filmmakers claim or disavow classical history? How do historically disenfranchised post-classical filmmakers, whether by gender, sexuality, or race, grapple with exclusionary and stereotype-ridden canons? As a constitutive element of post-classical authorship, film quotations amass and manufacture classical Hollywood in retrospective, highly strategic ways. By revealing how quotational tellings of film history build and embolden exclusionary, myopic canons, Classical Projections uncovers opportunities to construct more capacious cultural memory.

By combining accessible introductory and explanatory material with primary texts and artifacts, this text/reader explores the development and growth of LGBT identities and the interdisciplinary nature of sexuality studies. Authors Meem, Gibson, and Alexander clearly situate debates and readings within clear contexts (History, Literature and the Arts, Media and Politics), providing students with a coherent framework and comprehensive introduction to LGBT studies. While this emerging field is complex, multifaceted, and interdisciplinary (and therefore often inaccessible to students), Finding Out - through its instructional apparatus, primary texts, and organization - provides the ideal introduction for today's students. Contents: I. HISTORY 1. Before Identity: The Ancient World through the Nineteenth Century 2. Sexology: Constructing the Modern Homosexual 3. Toward Liberation 4. Stonewall and Beyond II. POLITICS 5. Nature, Nurture, and Identity 6. Inclusion and Equality 7. Queer Diversities 8. Intersectionalities III. LITERATURE AND THE ARTS 9. Homo-sexed Art and Literature 10. Lesbian Pulp Novels and Gay Physique Pictorials 11. Queer Transgressions 12. Censorship and Moral Panic IV. MEDIA 13. Film and Television 14. Queers and the Internet 15. The Politics of Location: Alternative Media and the Search for Queer Space

Honorable Mention for the 2022 Modern Language Association Prize for an Edited Collection Interrogates how artists have created new ways to imagine the past of American slavery From Kara Walker’s hellscape antebellum silhouettes to Paul Beatty’s bizarre twist on slavery in The Sellout and from Colson Whitehead’s literal Underground Railroad to Jordan Peele’s body-snatching Get Out, this volume offers commentary on contemporary artistic works that present, like musical deep cuts, some challenging “alternate takes” on American slavery. These artists deliberately confront and negotiate the psychic and representational legacies of slavery to imagine possibilities and change. The essays in this volume explore the conceptions of freedom and blackness that undergird these narratives, critically examining how artists growing up in the post–Civil Rights era have nuanced slavery in a way that is distinctly different from the first wave of neo-slave narratives that emerged from the Civil Rights and Black Power Movements. Slavery and the Post-Black Imagination positions post-blackness as a productive category of analysis that brings into sharp focus recent developments in black cultural productions across various media. These ten essays investigate how millennial black cultural productions trouble long-held notions of blackness by challenging limiting scripts. They interrogate political as well as formal interventions into established discourses to demonstrate how explorations of black identities frequently go hand in hand with the purposeful refiguring of slavery’s prevailing tropes, narratives, and images. A V Ethel Willis White Book

CURSED WITH MAGIC Abigail has a powerful magic inside her, one that will turn her into a monster if she's not careful. She's not the only one cursed. There are other children just like her, sleeping in a cave deep underground. Abigail keeps them safe, draining their power just as she drains away her own, desperately searching for a cure. But what if there is no cure? What if her cave is a prison, and not a place of healing? How can she save the sleepers when she's not even sure how to save herself?