Bøker utgitt av Wayne State University Press

Drawing on a depth of emotion, wit, and reverence for nature, this striking new collection captures the beautiful and often poignant complexities of the human experience.

This evocative entanglement of life and death, joy and horror, natural and artificial processes and particles offers an intriguing lyrical and poetic quality as well as unique perspectives through the lenses of feminist, queer, and disability studies.

Telotte illuminates Science Fiction Theatre as a touchstone for understanding the development of science fiction media and the dynamic nature of early television broadcasting.

Explores how American Jewish post-Holocaust writers adapted pre-Holocaust works, such as Yiddish fiction and documentary photography, for popular consumption by American Jews in the post-Holocaust decades. The book argues these texts helped clarify the role of East European Jewish identity in the construction of a post-Holocaust American one.

At the start of the Ford Motor Company in 1903, the Dodge Brothers supplied nearly every car part needed by the up-and-coming auto giant. After fifteen years of operating a successful automotive supplier company, John and Horace Dodge again changed the face of the automotive market in 1914 by introducing their own car. The Dodge Brothers automobile carried on their names even after their untimely deaths in 1920, which led to its sale in 1925 to New York bankers and subsequent purchase in 1928 by Walter Chrysler. Hyde not only details the brothers' lives and influence on automotive manufacturing and marketing trends in the early part of the twentieth century but also their civic contributions to Detroit, their hiring of African Americans and women, and their often anonymous charitable contributions to local organizations. Despite their achievements and their critical role in the early success of Henry Ford, John and Horace Dodge are usually overlooked in histories of the early automotive industry, but Hyde has put them front and center again to appropriately credit their lasting legacy.

How do we identify the "queer auteur" and their queer imaginings? Is it possible to account for such a figure when the very terms "queer" and "auteur" invoke aesthetic surprises and disorientations, disconcerting ironies and paradoxes, and biographical deceits and ambiguities? In eighteen eloquent chapters, David A. Gerstner traces a history of ideas that spotlight an ever-shifting terrain associated with auteur theory and, in particular, queer-auteur theory. Engaging with the likes of Oscar Wilde, Walter Benjamin, James Baldwin, Jean Louis Baudry, Linda Nochlin, Jane Gallop, Cáel Keegan, Luce Irigaray, and other prominent critical thinkers, Gerstner contemplates how the queer auteur in film theory might open us to the work of desire. Queer Imaginings argues for a queer-auteur in which critical theory is reenabled to reconceptualize the auteur in relation to race, gender, sexuality, and desire. Gerstner succinctly defines the contours of a history and the ongoing discussions that situate queer and auteur theories in film studies. Ultimately, Queer Imaginings is a journey in shared pleasures in which writing for and about cinema makes way for unanticipated cinematic friendships.

This book introduces him to a new generation of readers, historians, and social justice activists.

Everyone from scholars and students of television and media studies, genre studies, gender and sexuality studies, and popular culture, to superfans who can't believe the show is over will revel in this highly approachable and fun read.

It will be of special interest to scholars and students of television and media studies, as well as fans of science fiction.

Mothers of Invention: Film, Media, and Caregiving Laborconstructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches-including textual analysis, industry studies, ethnographic research, production histories, and personal reflection-Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach-fromthe films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and ADeal with the Universe (Jason Barker, 2018) to the television series Top of the Lake (2013-2017)and Jane the Virgin (2014-2019), among others-as well as discussion of the creative practices,be they related to production, pedagogy, curation, or critique, employed by a wide variety of filmand media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline toexpand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.

Hawaii Five-O, created by Leonard Freeman in 1968, is an American police procedural drama series that was produced by CBS Productions and aired for twelve seasons. Author Brian Faucette discusses the show's importance by looking at how it framed questions around the security and economy of the Hawaiian Islands in connection with law enforcement, the diversity of its population, the presence of the US military, and the influx of tourists. Faucette begins by discussing how the show both conformed to and adapted within the TV landscape of the late 1960s and how those changes helped to make it the longest-running cop show in American TV history until it was surpassed by Law and Order. Faucette argues that it was Freeman's commitment to filming on location in Hawaii that ensured the show would tackle issues pertinent to the islands and reflect the diversity of its people, culture, and experiences, while helping to establish a viable film and TV industry in Hawaii, which is still in use today. Faucette explains how a dedication to placing the show in political and social context of the late 1960s and 1970s (i.e., questions around policing, Nixon's call for "e;law and order,"e; the US military's investment and involvement in the Vietnam War, issues of racial equality) rooted it in reality and sparked conversation around these issues. Another key element of the show's success is its connection to issues of tourism and the idea that TV can create a form of "e;tourism"e; from the safety of the home. Faucette concludes with discussion of how Hawaii Five-O led to the development of other shows, as well as attempts to reboot the show in the 1990s and in 2010. Faucette makes a strong argument for the series as a distinctive artifact of a time in US history that witnessed profound changes in culture, politics, and economics, one that will excite not only scholars and students of television and media studies but any die-hard fan of gripping police procedurals.