RUCKUS GIRL The New Republic - In post nuclear war America, a scooter-riding freedom fighter battles a ruthless atheist villain and his massive war machine, to prevent the religious purification he hopes to complete. Using her wits and Ruckus scooter, she fights to save her small town of survivors from destruction.

Taiwan's rapid socio-economic and political transformation has given rise to a gender-conscious middle class that is attempting to redefine the roles of women in society, to restructure relationship patterns, and to organize in groups outside the family unit. This book examines internal psychological processes and external societal processes as the feminist movement in Taiwan expands and new gender roles are explored. The contributors represent a cross section of different disciplines - history, anthropology, and sociology - and different generations of China/Taiwan scholars. They place the issues facing Taiwan's women's movement in social, political, and economic contexts. The book examines gender relations, the role of women in Chinese society, and issues related to women in China throughout history. Feminism and gender relations are also viewed from the context of film and literature. The authors look at the contemporary roles that women play in Taiwan's work force today, how the sexes perceive each other in the workplace, and more.

The New Republic of Texas is ripped from the headlines realistic, full of suspense, intrigue and adventure! Hank Pennington was happy being a rancher, watching over a few thousand acres of prime Central Texas land. He did his bit for God and country, paid his taxes, and left Texas politics well enough alone. But one day an odd, secretive man named Paul Anderson showed up and turned Hank’s life upside down. Soon he would find himself not merely thrust into the heart of Texas gubernatorial politics but entangled in a life and death struggle with forces only talked about on late night radio shows. When Paul Anderson first shook hands with Hank, he was a man with a mission. He’d single-handedly chosen Hank Pennington to be the man to wrestle Texas away from a United States of America he could no longer support or defend, an America controlled and manipulated by a cabal of wealthy men who lived in the shadows, pulling strings and controlling every aspect of government. There was only one chance, one option, and one man who could pull it off: Hank Pennington. Get ready for a rumble… Texas style!

Films possess virtually unlimited power for crafting broad interpretations of American history. Nineteenth-century America has proven especially conducive to Hollywood imaginations, producing indelible images like the plight of Davy Crockett and the defenders of the Alamo, Pickett’s doomed charge at Gettysburg, the proliferation and destruction of plantation slavery in the American South, Custer’s fateful decision to divide his forces at Little Big Horn, and the onset of immigration and industrialization that saw Old World lifestyles and customs dissolve amid rapidly changing environments. Balancing historical nuance with passion for cinematic narratives, Writing History with Lightning confronts how movies about nineteenth-century America influence the ways in which mass audiences remember, understand, and envision the nation’s past. In these twenty-six essays—divided by the editors into sections on topics like frontiers, slavery, the Civil War, the Lost Cause, and the West—notable historians engage with films and the historical events they ostensibly depict. Instead of just separating fact from fiction, the essays contemplate the extent to which movies generate and promulgate collective memories of American history. Along with new takes on familiar classics like Young Mr. Lincoln and They Died with Their Boots On, the volume covers several films released in recent years, including The Revenant, 12 Years a Slave, The Birth of a Nation, Free State of Jones, and The Hateful Eight. The authors address Hollywood epics like The Alamo and Amistad, arguing that these movies flatten the historical record to promote nationalist visions. The contributors also examine overlooked films like Hester Street and Daughters of the Dust, considering their portraits of marginalized communities as transformative perspectives on American culture. By surveying films about nineteenth-century America, Writing History with Lightning analyzes how movies create popular understandings of American history and why those interpretations change over time.

Exploring one of the most dynamic and contested regions of the world, this series includes works on political, economic, cultural, and social changes in modern and contemporary Asia and the Pacific.

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.