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.

'The first time I read Freya’s work I thought . . . uh oh. And then I thought, you have got to be kidding me. And then I thought, God fucking dammit. And then I walked around the house shaking my head thinking . . . OK – alright. And then – finally – I thought, well well well – like a smug policeman. Listen – she’s just the best. I’m going to say this so seriously. She is, unfortunately, the absolute best. Trying to write a clever blurb for her feels like an insult to how right and true and deadly this collection is. God, she’s just so good. She’s the best. She kills me always, every time, and forever.’ —Hera Lindsay Bird

Angela Brazil's novel 'The Head Girl at the Gables' is a captivating coming-of-age story set in a prestigious girls' boarding school in early 20th century England. The book explores themes of friendship, leadership, and academic success through the eyes of the head girl of the school. Brazil's descriptive prose and well-developed characters immerse the reader in the daily life and challenges faced by the students, making the story both relatable and engaging. The novel is a prime example of early 20th century children's literature, showcasing the values and expectations of the time period. Brazil's writing style is simple yet effective, making the book accessible to readers of all ages. Angela Brazil, a prolific author of children's books, drew inspiration from her own experiences as a schoolteacher when writing 'The Head Girl at the Gables.' Her deep understanding of the dynamics of girlhood and school life is evident throughout the narrative. Brazil's commitment to empowering young readers through relatable characters and engaging stories is a hallmark of her literary career. I highly recommend 'The Head Girl at the Gables' to readers looking for a charming and insightful story set in a girls' boarding school. Angela Brazil's ability to capture the essence of girlhood and friendship makes this novel a timeless classic in children's literature.

“My name is Harriet Manners, and I will always be a geek.” The fifth book in the bestselling, award-winning GEEK GIRL series.

Mathilde Monaque developed severe depression when she was just 14. The eldest in a family of six and an exceptionally bright and gifted little girl, the discovery shook her family to the core. Trouble in My Head is Mathilde's tender and illuminating account of her struggle to surface from a disease that could have taken her life. With remarkable sensitivity and lucidity she describes her experience of depression, her days in the teenage hospital and her battle to conquer the disease. Mathilde's perspective as a sufferer of teenage depression is unique. Unlike adult depression which involves feelings of guilt, Mathilde describes teenage depression as a breaking down of certainties, the fear of being oneself, the fear of not loving and of not being loved. Adults and teenagers alike will find inspiration and insight in her touching and remarkable account.

Thieving, swindling, controlling ... that's Irene's stepfather. Her mother showers her little girl with abuse and neglect instead of love, and Irene spends her childhood in utter deprivation and hardship. And for some inexplicable reason her mother will not tell her who her real father is. Will she ever be able to find out for herself? Luckily Irene has a safe haven with her loving auntie and uncle, but when they move away she is left alone to fend for herself in a family where she just doesn't fit in. Irene resolves to leave her horrible family behind, and her determination to escape what life has thrown at her leads her to a dream career as a nurse. Her confidence grows, and her ambition of carving out her own future is boosted by a good nose for a property deal. And might she find happiness in love when she least expects it?

Over-stimulation kills the desire to attain the target. You know all that. The story of Kate Kadege explores this theme even more.

Welcome to Malory Towers, where there's more to life than lessons! Mischievous Daffy loves playing tricks, but when she goes too far, there are a few shocks and surprises in store . . . Meanwhile, there's something so familiar about new pupil Alice. The girls are certain they've met her before - could she be hiding a secret? Malory Towers is now a fantastic television drama, available on BBC iPlayer and on CBBC. Between 1946 and 1951, Enid Blyton wrote six novels set at Malory Towers. Books 7-12 are authorised sequels of the series written by Pamela Cox in 2009 and focus on the adventures of Felicity Rivers, Susan Blake, and June Johns. This edition is unillustrated. * Malory Towers ®, Enid Blyton ® and Enid Blyton's signature are registered trade marks of Hodder & Stoughton Limited. No trade mark or copyrighted material may be reproduced without the express written permission of the trade mark and copyright owner.

When Amanda Baker was 14 she found a letter written by her runaway mother to her unborn child: 'Dear Jeremy' it began 'or Amanda...'. Now Baker is sixteen and sick of her lot as she moves miserably between lessons, her only solace her fifth form gang – the four Mandies – and a low-calorie diet of king-sized cigarettes. That is, until she teams up with Julia Smith, games captain and consummate game player. And so begins a passionate friendship that will threaten her future, menace her sanity and risk the betrayal of everything and everyone she holds dear.