Obscene, libidinous, loathsome, lascivious. Those were just some of the ways critics described the nineteenth-century weeklies that covered and publicized New York City’s extensive sexual underworld. Publications like the Flash and the Whip—distinguished by a captivating brew of lowbrow humor and titillating gossip about prostitutes, theater denizens, and sporting events—were not the sort generally bound in leather for future reference, and despite their popularity with an enthusiastic readership, they quickly receded into almost complete obscurity. Recently, though, two sizable collections of these papers have resurfaced, and in The Flash Press three renowned scholars provide a landmark study of their significance as well as a wide selection of their ribald articles and illustrations. Including short tales of urban life, editorials on prostitution, and moralizing rants against homosexuality, these selections epitomize a distinct form of urban journalism. Here, in addition to providing a thorough overview of this colorful reportage, its editors, and its audience, the authors examine nineteenth-century ideas of sexuality and freedom that mixed Tom Paine’s republicanism with elements of the Marquis de Sade’s sexual ideology. They also trace the evolution of censorship and obscenity law, showing how a string of legal battles ultimately led to the demise of the flash papers: editors were hauled into court, sentenced to jail for criminal obscenity and libel, and eventually pushed out of business. But not before they forever changed the debate over public sexuality and freedom of expression in America’s most important city.

This book will assist journalists and Flash developers who are working together to bring video, audio, still photos, and animated graphics together into one complete Web-based package. This book is not just another Flash book because it focuses on the need of journalists to tell an accurate story and provide accurate graphics. This book will illustrate how to animate graphics such as maps, illustrations, and diagrams using Flash. It will show journalists how to integrate high-quality photos and audio interviews into a complete news package for the Web. Each lesson in the book is followed by a learning summary so that journalists can review the skills they have acquired along the way. In addition, the book's six case studies will allow readers to study the characteristics of news packages created with Flash by journalists and Web developers at The Washington Post, MSNBC.com, and Canadian and European news organizations.

FEATURING ESSAYS FROM: Barrie Jean Borich • Jenny Boully • Norma Elia Cantú • Rigoberto González • Philip Graham • Carol Guess • Jeff Gundy • Robin Hemley • Barbara Hurd • Judith Kitchen •Eric LeMay • Dinah Lenney • Bret Lott • Patrick Madden• Lee Martin • Maggie McKnight • Brenda Miller •Kyle Minor • Aimee Nezhukumatathil • Anne Panning • Lia Purpura • Peggy Shumaker • Sue William Silverman • Jennifer Sinor • Ira Sukrungruang • Nicole Walker Unmatched in its focus on a concise and popular emerging genre, The Rose Metal Press Field Guide to Writing Flash Nonfiction features 26 eminent writers, editors, and teachers offering expert analysis, focused exercises, and helpful examples of what make the brief essay form such a perfect medium for experimentation, insight, and illumination. With a comprehensive introduction to the genre and book by editor Dinty W. Moore, this guide is perfect for both the classroom and the individual writer’s desk—an essential handbook for anyone interested in the scintillating and succinct flash nonfiction form. How many words does it take to tell a compelling true story? The answer might surprise you.

Featuring 33 stories under 1000 words by the winners of the Flash in the Attic Flash Fiction Contest. The very brief stories in this volume, by turns playful, provocative, poignant, fantastical, fearless, and wildly imaginative, prove just how much can be accomplished in 1000 words or fewer.As it turns out, 1000 words is plenty of room to make a scene, get people in trouble, get them out of it, or parse language one letter at a time, as Sharon Goldberg does in "Rear-End Collisions," which took second place. 1000 words is also enough room for the dead to visit the living on a subway car bound for Brooklyn, for fathers to lose the hearts of their daughters, and for the sun to threaten the future of the earth and the intricate bonds of family. Neal Allen's winning story, "The Mayan Calendar," proves that 1000 words is also enough to span the history of civilization.

Flash Flaherty, the much-anticipated follow-up volume to The Flaherty: Decades in the Cause of Independent Cinema, offers a people's history of the world-renowned Robert Flaherty Film Seminar, an annual event where participants confront and reimagine the creative process surrounding multiple document/documentary forms and modes of the moving image. This collection, which includes a mosaic of personal recollections from attendees of the Flaherty Seminar over a span of more than 60 years, highlights many facets of the "Flaherty experience." The memories of the seminarians reveal how this independent film and media seminar has created a lively and sometimes cantankerous community within and beyond the institutionalized realm of American media culture. Editors Scott MacDonald and Patricia R. Zimmermann have curated a collective polyphonic account that moves freely between funny anecdotes, poetic impressions, critical considerations, poignant recollections, scholarly observations, and artistic insights. Together, the contributors to Flash Flaherty exemplify how the Flaherty Seminar propels shared insights, challenging debates, and actual change in the world of independent media.

Sensationalistic stories have attracted readers for as long as reading has been a popular form of entertainment. Readers have been frightened, revolted, yet fascinated by stories of death, thievery, kidnapping, murder, rape, scandal, love triangles, and colorful miscreants. Starting in the 1830s this morbid interest in lurid stories fueled the unprecedented growth of sensationalist newspapers that titillated and shocked their many readers. This study of sensationalism describes how newspapers added lurid details to their coverage of news events in an effort to attract as many readers as they could. Employing hyperbole and exaggerated details, they meant to grab the attention of the reader and keep him or her reading. For the next hundred years this form of journalism continued, later spilling over into radio and television news. Along the way, the "yellow journalism" wars of the 1880s and 1890s produced bold headlines, eye-catching illustrations, exaggeration of news events, and even false quotes and misleading information. Sensational reporting continued with muckraking reporting in the early 1900s as journalistic crusaders worked to expose municipal corruption, corporate greed, and misconduct in American business.

As this latest collection of Flash tales written by Mark Waid begins, meet Walter West, a Flash from a parallel reality where his beloved Linda Park died and the speedster doles out brutal justice to criminals as a response. Can the two Flashes co-exist long enough to stop Replicant, a villain with the combined powers of the Rogues Gallery? Better find out fast-the longer Walter West stays on Wally’s Earth, the more he poses a threat to all of reality! Collects The Flash #151-162, The Flash Annual #12, and pages from The Flash Secret Files #2.

This fascinating account and analysis of how one woman’s near-death experience sparked an awakening into psychic consciousness will “inspire your to rethink . . . humanity, death, and an afterlife” (Bruce Greyson, MD, University of Virginia School of Medicine). When Elizabeth Greenfield Krohn got out of her car with her two young sons in the parking lot of her synagogue on a late afternoon in September 1988, she couldn't have anticipated she would within seconds be struck by lightning and have a near-death experience. She felt herself transported to a garden and engaging in a revelatory conversation with a spiritual being. When she recovered, her most fundamental understandings of what the world is and how it works had been completely transformed. She was “changed in a flash,” suddenly able to interact with those who had died and have prescient dreams predicting news events. She came to believe that some early traumatic and abusive experiences had played a part in preparing her for this experience. Told in matter-of-fact language, the first half of this book is the story of Krohn’s journey, and the second is an interpretation and analysis by respected professor of religion Jeffrey J. Kripal. He places Krohn’s experience in the context of religious traditions and proposes the groundbreaking idea that we are shaping our own experiences in the future by how we engage with near-death experiences in the present. Changed in a Flash is not about proving a story, but about carving out space for serious discussion of this phenomenon.

DIVRelates the history of Japanese film to the history of the capitalist transformation of Japan./div