First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

"Originally published in hardcover in 2006 by Henry Holt and Company and in paperback in 2007 by St. Martin's Griffin"--Title page verso.

A provocative book about rethinking hatred and violence in America Over the centuries American society has been plagued by brutality fueled by disregard for the humanity of others: systemic violence against Native peoples, black people, and immigrants. More recent examples include the Steubenville rape case and the murders of Matthew Shepard, Jennifer Daugherty, Marcelo Lucero, and Trayvon Martin. Most Americans see such acts as driven by hate. But is this right? Longtime activists and political theorists Kay Whitlock and Michael Bronski boldly assert that American society’s reliance on the framework of hate to explain these acts is wrongheaded, misleading, and ultimately harmful. All too often Americans choose to believe that terrible cruelty is aberrant, caused primarily by “extremists” and misfits. The inevitable remedy of intensified government-based policing, increased surveillance, and harsher punishments has never worked and does not work now. Stand-your-ground laws; the US prison system; police harassment of people of color, women, and LGBT people; and the so-called war on terror demonstrate that the remedies themselves are forms of institutionalized violence. Considering Hate challenges easy assumptions and failed solutions, arguing that “hate violence” reflects existing cultural norms. Drawing upon social science, philosophy, theology, film, and literature, the authors examine how hate and common, even ordinary, forms of individual and group violence are excused and normalized in popular culture and political discussion. This massive denial of brutal reality profoundly warps society’s ideas about goodness and justice. Whitlock and Bronski invite readers to radically reimagine the meaning and structures of justice within a new framework of community wholeness, collective responsibility, and civic goodness.

This expansive three-volume set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors, directors, and movements in American cinematic history. Hollywood has always reflected current American cultural norms and ideas. As such, film provides a window into attitudes about race and ethnicity over the last century. This comprehensive set provides information on hundreds of films chosen based on scholarly consensus of their importance regarding the subject, examining aspects of race and ethnicity in American film through the historical context, themes, and people involved. This three-volume set highlights the most important films and artists of the era, identifying films, actors, or characterizations that were considered racist, were tremendously popular or hugely influential, attempted to be progressive, or some combination thereof. Readers will not only learn basic information about each subject but also be able to contextualize it culturally, historically, and in terms of its reception to understand what average moviegoers thought about the subject at the time of its popularity—and grasp how the subject is perceived now through the lens of history.

What if we could start with a blank slate, and write ourselves a brand new copyright system? What if we could design a law, from scratch, unconstrained by existing treaty obligations, business models and questions of political feasibility? Would we opt for radical overhaul, or would we keep our current fundamentals? Which parts of the system would we jettison? Which would we keep? In short, what might a copyright system designed to further the public interest in the current legal and sociological environment actually look like? Taking this thought experiment as their starting point, the leading international thinkers represented in this collection reconsider copyright’s fundamental questions: the subject matter that should be protected, the ideal scope and duration of those rights, and how it should be enforced. Tackling the biggest challenges affecting the current law, their essays provocatively explore how the law could better secure to creators the fruits of their labours, ensure better outcomes for the world’s more marginalised populations and solve orphan works. And while the result is a collection of impossible ideas, it also tells us much about what copyright could be – and what prescriptive treaty obligations currently force us to give up. The book shows that, reimagined, copyright could serve creators and the broader public far better than it currently does – and exposes intriguing new directions for achievable reform.

"KYLE STARKS is a treasure. With THE SIX SIDEKICKS OF TRIGGER KEATON, he proves that he’s not only effortlessly funny, but can also craft rich, distinct characters that you can’t help but root for, even at their worst. And CHRIS SCHWEIZER is an astounding artist, mastering both perfect expressions and wild action scenes in jam-packed, eye-popping pages. I highly recommend this book!” —CHIP ZDARSKY (Daredevil) For fans of CHEW and ASSASSIN NATION comes a new action-mystery series from Eisner Award nominees CHRIS SCHWEIZER (The Crogan Adventures) and KYLE STARKS (SEXCASTLE). The world’s most unlikable action star has been found dead, and his previous TV sidekicks are looking to solve the mystery. But how can you catch a murderer when almost everyone hates the victim? Now, these sidekicks are going to learn what it means to be the stars of the show—that is, if any of them survive the STUNTMAN WAR! Collects THE SIX SIDEKICKS OF TRIGGER KEATON #1-6 Select praise for THE SIX SIDEKICKS OF TRIGGER KEATON: “Stuffed with colorful characters, gut-busting humor, a deep appreciation of American pop culture, and a surprising degree of depth amidst all the tawdry details. The uninitiated can rest assured they're in for one heckuva ride here.” —ComicBook.com “A must-read. If you're a fan of movies like Knives Out and The Usual Suspects, you'll love this book.” —AIPT “A murder mystery that uses the tropes of a Hollywood whodunnit to deliver an interesting character study.” —Multiversity Comics

Final Judgments: The Death Penalty in American Law and Culture explores the significance and meaning of finality in capital cases. Questions addressed in this book include: how are concerns about finality reflected in the motivations and behavior of participants in the death penalty system? How does an awareness of finality shape the experience of the death penalty for those condemned to die as well as for capital punishment's public audience? What is the meaning of time in capital cases? What are the relative weights according to finality versus the need for error correction in legal and political debates? And, how does the meaning of finality differ in capital and non-capital (LWOP) cases? Each chapter examines the idea of finality as a legal, political, and cultural fact. Final Judgments deploys various theories and perspectives to explore the death penalty's finality.

"...what a perfect comic."'STEVE ORLANDO (COMMANDERS IN CRISIS) My friends, let me keep it super simple for you: in this issue, you get 20 PAGES OF MASSIVE KUNG FU ACTION, as our now-unified six former sidekicks go toe to toe in a tidal wave of angry stuntmen looking for revenge and for blood! It's going to be very good. Very awesome.

Thinking, Childhood, and Time: Contemporary Perspectives on the Politics of Education is an interdisciplinary exploration of the notion of childhood and its place in a philosophical education. Contributors consider children’s experiences of time, space, embodiment, and thinking. By acknowledging Hannah Arendt’s notion that every child brings a new beginning into the world, they address the question of how educators can be more responsive to the Otherness that childhood offers, while assuming that most educational models follow either a chronological model of child development or view children as human beings that are lacking. The contributors explore childhood as a philosophical concept in children, adults, and even beyond human beings—Childhood as a (forgotten) dimension of the world. Contributors also argue that a pedagogy that does not aim for an “exodus of childhood,” but rather responds to the arrival of a new human being responsibly (dialogically), fosters a deeper appreciation of the newness that children bring in order to sensitize us for our own Childhood as adults as well and allow us to welcome other forms of childhood in the world. As a whole, this book argues that the experience of natality, such as the beginning of life, is not chronologically determined, but rather can occur more than once in a human life and beyond. Scholars of philosophy, education, psychology, and childhood studies will find this book particularly useful.

A collection of wide-ranging critical essays that examine how the judicial system is represented on screen Historically, the emergence of the trial film genre coincided with the development of motion pictures. In fact, one of the very first feature-length films, Falsely Accused!, released in 1908, was a courtroom drama. Since then, this niche genre has produced such critically acclaimed films as Twelve Angry Men, To Kill a Mockingbird, and Anatomy of a Murder. The popularity and success of these films can be attributed to the fundamental similarities of filmic narratives and trial proceedings. Both seek to construct a “reality” through storytelling and representation and in so doing persuade the audience or jury to believe what they see. Trial Films on Trial: Law, Justice, and Popular Culture is the first book to focus exclusively on the special significance of trial films for both film and legal studies. The contributors to this volume offer a contemporary approach to the trial film genre. Despite the fact that the medium of film is one of the most pervasive means by which many citizens receive come to know the justice system, these trial films are rarely analyzed and critiqued. The chapters cover a variety of topics, such as how and why film audiences adopt the role of the jury, the narrative and visual conventions employed by directors, and the ways mid-to-late-twentieth-century trial films offered insights into the events of that period.