The “good jobs” of the past are almost gone. Today, many university graduates face unemployment while others face underemployment. Ken Coates and Bill Morrison explore the death of the “good job,” and the role that universities have played in the disconnect between career fantasies and realities.

A baker's dozen of Waldrop's best short stories about movie and TV. Dream Factories and Radio Pictures collects twelve of Howard Waldrop's movie (“dream factories”) and television ("radio pictures") stories from his first four collections, as well as a new article and a new story. The stories — about personalities, history, projections, alternatives, guesses, and the effects they had and keep on having as they and we evolve — are accompanied by Waldrop’s original (in every sense of the word) introductions full of "Strange But True facts uncovered while researching them.” The collection includes: "Fin de Cyclé,” "Save a Place in the Lifeboat for Me,” “French Scenes,” "Heirs of the Perisphere,” "Hoover’s Men,” "Major Spacer in the 21st Century,” and more.

The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.

This is the story of what came to be known as the "packaged house," one of the few architect-inspired attempts to manufacture and market a prefabricated home. The plan began in the 1940s as a major collaborative effort between Walter Gropius, then at the height of his fame, and Konrad Wachsmann, a rising star-both in exile from their native Germany. For both men, this was the culmination of many years of experience in the field of industrialized housing and an unparalleled opportunity to make their long-cherished dream of a factory-made house a reality. How did this venture, which seemed to have everything going for it, turn out to be such a dismal failure? The answers to that question make this one of the most fascinating studies in the annals of modern architecture. Gilbert Herbert's analysis of the bold undertaking has within it not only the elements of personal drama, as far as Gropius and Wachsmann are concerned, but it unfolds consequences of more drastic significance for the development of industrially-produced housing the world over. Both architects represented a formidable combination of ability and experience; both had contributed significantly to the theory and practice of prefabrication, and had devised a system that was technically impeccable. That "only a small number of these immaculately conceived and engineered houses was actually sold" was not only a great disappointment for them, it was a grave shock to the whole movement for industrially-produced housing. The facts of the Gropius-Wachsmann case—now fully disclosed with extensive visual documentation—are instructive in themselves. But the real significance of this book lies in its ability to relate the facts to the history of industrialized housing and to the modern architect's confrontation with technological, economic, and social forces.

When Eve Handel, one of the few women in Hollywood with the power to make or break a star, is hospitalized due to a life-threatening illness, those closest to her become concerned for their reputations, because Eve's journal full of dark secrets is missing.

When the Disney World character actors go on strike, teens are hired as replacements. Ella is assigned the role of Cinderella simply because the shoes fit. And every afternoon at three o?clock she gets married to Prince Charming. A perfect dream come true?except Ella doesn?t believe in dreams anymore. Meanwhile, Luke is one of the fur characters (Dale, the chipmunk), and his girlfriend, Cassie, plays his counterpart, Chip. Cassie is perfect in every way, so why does Luke want to be with Cinderella? Then Luke and Ella are brought together during a scavenger hunt, and as they uncover the Magic Kingdom?s hidden treasures, they discover an undeniable magic between them. Perhaps dreams really can come true after all?