The book takes as its point of departure the notion that a nation's music and performance culture was, in the nineteenth century, conceived of as the voice of its people. From ballads to parades to plays to orations, these cultural forms carried the burden of staging an identity for the national community and for the onlooking eyes of outsiders.

Whether you're a would-be entrepreneur, a hard-core geek, or just a gadget lover, it is hard to imagine a bigger thrill than inventing something and sharing your creation with the world--and maybe even making a profit somewhere along the way. Gadget Nation celebrates that spirit through the irresistible, often quirky stories of more than 100 amateur inventors and their gizmos, from lighted slippers to an alarm clock that rolls away from you when you reach for the snooze button.

Vols. 34- contain official N.A.P.E. directory.

Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like 'quirky', 'cute', and 'smart' are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, 'American eccentric cinema' presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.

Presents biographical profiles of American women leaders and activists, including birth and death dates, major accomplishments, and historical influence.

Eccentric Laughter explores new ways to watch postwar British film comedies, arguing that their representations of eccentricity offered a set of possible queer futures for a Britain that had been destabilized by years of conflict and social upheaval. Far from being the apolitical cinema described by previous critics, these comedies—including both perennial favorites from Ealing Studios and neglected films ripe for rediscovery—make a joke of and suggest alternatives to the heterocentric home and family. Referencing a wide range of theories, the book gives details of how these films' comic queernesses are not structured on fixed identities but on an open play of possibilities, depicting eccentricity, artifice, drag, ruins, and the wild in ways that can still offer inspiration for experiments in living today. Engaging with contemporary queer theories and politics, the book argues that these films continue to address questions of urgent relevance to students and other viewers in the twenty-first century. Films discussed include The Belles of St. Trinian's, Genevieve, The Lavender Hill Mob, Simon and Laura, The Stranger Left No Card, and Young Wives' Tale.