2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.

Savage Girls and Wild Boys is a fascinating history of extraordinary children---brought up by animals, raised in the wilderness, or locked up for long years in solitary confinement. Wild or feral children have fascinated us through the centuries, and continue to do so today. In a haunting and hugely readable study, Michael Newton deftly investigates a number of infamous cases. He looks at Peter the Wild Boy, who gripped the attention of Swift and Defoe, and at Victor of Aveyron, who roamed wild in the forests of revolutionary France. He tells the story of a savage girl lost on the streets of Paris, of two children brought up by wolves in the jungles of India, and of a Los Angeles girl who emerged from thirteen years locked in a room to international celebrity. He describes, too, a boy brought up among monkeys in Uganda; and in Moscow, the child found living with a pack of wild dogs. Savage Girls and Wild Boys examines the lives of these children and of the adults who "rescued" them, looked after them, educated, or abused them. How can we explain the mixture of disgust and envy that such children can provoke? And what can they teach us about our notions of education, civilization, and man's true nature?

This book introduces students to ethics in historiography through an exploration of how historians in different times and places have explained how history ought to be written and how those views relate to different understandings of ethics. No two histories are the same. The book argues that this is a good thing because the differences between histories are largely a matter of ethics. Looking to histories made across the world and from ancient times until today, readers are introduced to a wide variety of approaches to the ethics of history, including well-known ethical approaches, such as the virtue ethics of universal historians, and utilitarian approaches to collective biography writing while also discovering new and emerging ideas in the ethics of history. Through these approaches, readers are encouraged to challenge their ideas about whether humans are separate from other living and non-living things and whether machines and animals can write histories. The book looks to the fundamental questions posed about the nature of history making by Indigenous history makers and asks whether the ethics at play in the global variety of histories might be better appreciated in professional codes of conduct and approaches to research ethics management. Opening up the topic of ethics to show how historians might have viewed ethics differently in the past, the book requires no background in ethics or history theory and is open to all of those with an interest in how we think about good histories.

Boys Love Manga and Beyond looks at a range of literary, artistic and other cultural products that celebrate the beauty of adolescent boys and young men. In Japan, depiction of the “beautiful boy” has long been a romantic and sexualized trope for both sexes and commands a high degree of cultural visibility today across a range of genres from pop music to animation. In recent decades, “Boys Love” (or simply BL) has emerged as a mainstream genre in manga, anime, and games for girls and young women. This genre was first developed in Japan in the early 1970s by a group of female artists who went on to establish themselves as major figures in Japan's manga industry. By the late 1970s many amateur women fans were getting involved in the BL phenomenon by creating and self-publishing homoerotic parodies of established male manga characters and popular media figures. The popularity of these fan-made products, sold and circulated at huge conventions, has led to an increase in the number of commercial titles available. Today, a wide range of products produced both by professionals and amateurs are brought together under the general rubric of “boys love,” and are rapidly gaining an audience throughout Asia and globally. This collection provides the first comprehensive overview in English of the BL phenomenon in Japan, its history and various subgenres and introduces translations of some key Japanese scholarship not otherwise available. Some chapters detail the historical and cultural contexts that helped BL emerge as a significant part of girls' culture in Japan. Others offer important case studies of BL production, consumption, and circulation and explain why BL has become a controversial topic in contemporary Japan.

From the New York Times bestselling team behind Rad American Women A-Z comes an illustrated collection of radical and transformative political, social, and cultural movements in American history. “An engaging, fascinating, and necessary book that speaks truth to power.”—Congresswoman Barbara Lee In Rad American History A-Z, each letter of the alphabet tells the story of a significant moment in America's progressive history--one that isn't always covered in history classes: A is for Alcatraz, and the Native occupation of 1969; C is for the Combahee River Raid, a Civil War action planned in part by Union spy Harriet Tubman; Z is for Zuccotti Park, and the Occupy movement that briefly took over the world. Paired with dynamic paper-cut art by Miriam Klein Stahl, the entries by Kate Schatz explore several centuries of politics, culture, art, activism, and liberation, including radical librarians, Supreme Court cases, courageous youth, punk rocker grrrls, Southern quilts, and modern witches. In addition to the twenty-six core stories, short sidebars expand the discussion, and dictionary-style lists refer readers to additional key moments. So while F is for Federal Theater Project, a New Deal-era program that employed thousands of artists, F is also for Freedom Rides and First Amendment. E is for Earth First!, but also for Endangered Species Act and Equal Rights Amendment. There are tales of triumph, resilience, creation, and hope. Each engaging, fact-filled narrative illustrates an eye-opening moment that shows us how we got to now--and what we need to know about our histories to create a just and sustainable future. Advance praise for Rad American History A-Z “I wish I’d had Rad American History A–Z when I was growing up; it’s a book I hope to read to my children one day. In such chaotic political times, this is a critical tool for young people to know how change happens, and to know that they, too, can make change happen. This book belongs on all library shelves as a transformative approach to history as we know it.”–Alicia Garza, cofounder of Black Lives Matter Global Network