Ivola Hoffman was once a vibrant, bubbly and charming twenty-four-year-old woman who now found life to be mundane and routine. Coming home from work one afternoon, she experiences a phenomenon that flings her world into darkness. Her friends abandon her, her dreams turn to nightmares and her touch turns deadly. What is she? Why is an evil entity after her? And why does the name Lola resonate in her mind?Far away from home and people that love her, Ivy tries hopelessly to stay alive in a strange world that has suddenly turned against her.

A 1906 film called The Dream of a Rarebit Fiend shows a man drinking and eating voraciously at a restaurant, then going home to bed. In the surreal scenes that follow, furniture disappears, tiny devils poke the man's head with pitchforks, and his bed hurls itself out the window and across the city. But it wasn't commentary on drinking; rather, it was a showcase of early special effects--double exposure photography, panning shots, and montage. Turn-of-the-century films typically treated drinking as a subject for comedy and ridicule, and the comic possibilities translated well into silent movies. As talkies developed and the film industry matured, alcohol's portrayal was reflected in the times: prohibition, the Great Depression, the war years, and as social commentary. Here is a study of 64 years of alcohol as portrayed in film. The author begins with the appearance in 1898 of what is probably the first commercial: a 30-second film of men in kilts dancing and the words "Scotch Whiskey" appearing in the background. The final film is 1962's Days of Wine and Roses, which addresses alcoholism. The author includes a film from each decade, those with artistic or historical value, those that represent the comedy, drama and musical genres, and well-known pictures such as The Lost Weekend and A Star Is Born. The first three chapters cover 1903 to 1939. The remaining chapters follow not a timeline but the growing complexity of the movies. A recurring motif is the use of the term "white logic," a phrase used by writer Jack London in his 1913 memoir John Barleycorn. It refers to disillusionment with everyday life brought on by and exacerbated by alcohol. An annotated filmography lists the date, source and other relevant information about movies in this study.

This longitudinal study is based on the story of Lola, who was gang raped during the war in Bosnia and Herzegovina in 1992. At the time, she was in a detention camp with her young children. Only one of Lola’s several perpetrators was convicted but his sentence of six years of imprisonment has never been actioned by the Bosnian judiciary. Lola’s rapist is still free and she lives in continual fear that he will retaliate against her and her children for her role in his trial.

Since the days of silent films, music has been integral to the cinematic experience, serving, variously, to allay audiences' fears of the dark and to heighten a film's emotional impact. Yet viewers are often unaware of its presence. In this bold, insightful book, film and music scholar and critic Royal S. Brown invites readers not only to "hear" the film score, but to understand it in relation to what they "see." Unlike earlier books, which offered historical, technical, and sociopolitical analyses, Overtones and Undertones draws on film, music, and narrative theory to provide the first comprehensive aesthetics of film music. Focusing on how the film/score interaction influences our response to cinematic situations, Brown traces the history of film music from its beginnings, covering both American and European cinema. At the heart of his book are close readings of several of the best film/score interactions, including Psycho, Laura, The Sea Hawk, Double Indemnity, and Pierrot le Fou. In revealing interviews with Bernard Herrmann, Miklós Rósza, Henry Mancini, and others, Brown also allows the composers to speak for themselves. A complete discography and bibliography conclude the volume.

“Literature of the Holocaust” courses, whether taught in high schools or at universities, necessarily cover texts from a broad range of international contexts. Instructors are required, regardless of their own disciplinary training, to become comparatists and discuss all works with equal expertise. This books offers analyses of the ways in which representations of the Holocaust—whether in text, film, or material culture—are shaped by national context, providing a valuable pedagogical source in terms of both content and methodology. As memory yields to post-memory, nation of origin plays a larger role in each re-telling, and the chapters in this book explore this notion covering well-known texts like Night (Hungary), Survival in Auschwitz (Italy), MAUS (United States), This Way to the Gas (Poland), and The Reader (Germany), while also introducing lesser-known representations from countries like Argentina or Australia.

In this textbook for students and instructors of marriage and family therapy, Bethany C. Suppes offers a refreshed perspective of family systems therapy (FST), focusing on the importance of understanding its concepts and demonstrating how models of marriage and family therapy can appear practically in counseling. In Part I, Suppes begins with a theoretical overview of FST, including the history of development, key theorists, and defining core concepts. In Part II, she focuses on application and explores nine key components of FST, identifying how various systemic therapy models apply these concepts. The book also covers the professional responsibilities of the systemic therapist and cultural considerations for those using the theory professionally. Primarily written for those having their first exposure to the ideas of FST, it explains concepts in a language and structure that is more comprehensive and culturally aware than existing literature, aiming to improve the therapeutic process for both therapist and client.

Homeland, Exile, Imagined Homelands are features of the modern experience and relate to the cultural and historical dilemmas of loss, nostalgia, utopia, travel, longing, and are central for Jews and others. This book is an exploration into a world of boundary crossings and of desired places and alternate identities, into a world of adopted kin and invented allegiances.