A naked girl gets swept downstream and is fished out by four women fly fishers. Tales of adventure, as well as stories of renewal, discovery, and tragedy follow the five women as they find each other (and themselves) through the sport of fly fishing. Through the tales of each character, The Reel Sisters fosters the notion that fly fishing has the potential to transcend age, gender, culture, and even socioeconomic barriers, and can occasionally be the glue that binds us. The Reel Sisters is a story about the power of women friendships, and how we learn a little bit about ourselves each time we step into the river. By the end of the book, you'll want to start planning your own Reel Sisters adventures.

In the last several decades, the number of films featuring female protagonists has increased significantly. Many of these films reflect the vast cultural and sociological changes that have taken place since the early 1960s, highlighting not only a wide spectrum of female characters depicted onscreen, but the creative work of women behind the camera as well. In Reel Women: An International Directory of Contemporary Feature Films about Women, media librarian Jane Sloan has assembled an impressive list of more than 2400 films—from nearly 100 countries—that feature female protagonists. Each entry includes a brief description of the film and cites key artistic personnel, particularly female directors, producers, and screenwriters involved in its production. Reel Women also contains a critical survey in which Sloan charts the changes women have undergone both on screen and off, as moviemaking and audience sensibilities have evolved in the last forty-plus years. Listing many more films on the subject of women than can be found in any other source, this reference brings together important titles from area studies and genre markets along with titles associated with women's cinema and feminist film. In addition to title and actor indexes, the book contains a subject index that provides detailed access to place names, historical characters, time periods, and storylines, as well as the backgrounds—religious, racial, and ethnic—of the main characters. This directory is an ideal reference tool for researchers studying the evolution of female characters in films around the world, from Afghanistan to Zimbabwe. It is also a resource for casual viewers who are looking for films that reflect the diversity of women's roles that can be found in independent and national cinemas as well as commercial blockbusters.

Presenting a new angle on angling: the captivating history of the daring, ingenious, and skillful women who have made a lasting impact on sportfishing -- from a trendsetting 15th-century nun to the champions of today's professional tournaments.Modern sportfishing began in 1496 with the definitive "Treatyse of Fysshynge wyth an Angle". Written by the English noblewoman and nun Juliana Berners, it marks the beginning of a long line of contributions that women have made to a sport often considered the province of males.Dozens of entertaining portraits present the distaff side of the rod and reel world. Lyla Foggia reveals innovations -- from fly-tying tricks to casting techniques -- developed by women, including Joan Wulff, whose teaching method Fly Rod & Reel declared, "(did) for casting what Stephen Hawking did for physics". Foggia visits the "big three" arenas of sportfishing -- fly-fishing, big-game angling, and bass tournaments -- to introduce such legendary figures as Mrs. Spalding, aless-than-100-pound wonder who landed a record-setting 426-pound swordfish.With insights into fishing as a reflective act, and featuring vint

When Thelma and Louise outfought the men who had tormented them, women across America discovered what male fans of action movies have long known—the empowering rush of movie violence. Yet the duo's escapades also provoked censure across a wide range of viewers, from conservatives who felt threatened by the up-ending of women's traditional roles to feminists who saw the pair's use of male-style violence as yet another instance of women's co-option by the patriarchy. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks. Contributors from a variety of disciplines analyze violent women's respective places in the history of cinema, in the lives of viewers, and in the feminist response to male violence against women. The essays in part one, "Genre Films," turn to film cycles in which violent women have routinely appeared. The essays in part two, "New Bonds and New Communities," analyze movies singly or in pairs to determine how women's movie brutality fosters solidarity amongst the characters or their audiences. All of the contributions look at films not simply in terms of whether they properly represent women or feminist principles, but also as texts with social contexts and possible uses in the re-construction of masculinity and femininity.

Viola doesn't want to go to boarding school, but somehow she ends up at Prefect Academy, an all-girls school in South Bend, Indiana, far faraway from her home in Brooklyn, New York. Now Viola is stuck for a whole year in what seems to be the sherbet-coloured-sweater capital of the world. Ick. There's no way Viola's going to survive the year - especially since she has to replace her BFFAA (best friend forever and always) Andrew with three new roommates who, disturbingly, actually seem to likebeing at Prefect. She resorts to viewing the world (and hiding) behind the lens of her video camera. But boarding school, her roommates and even Indiana, are nothing like Viola thought they would be, and she soon realises that she may be in for the most incredible year of her life. But first she has to put the camera down and let the world in.

What was Takako Konishi really doing in North Dakota, and why did she end up dead? Did she get lost and freeze to death, as the police concluded, while searching for the fictional treasure buried in a snowbank at the end of the Coen Brothers’ film Fargo? Or was it something else that brought her there: unrequited love, ritual suicide, a meteor shower, a far-flung search for purpose? The seed of an obsession took root in struggling film student Jana Larson when she chanced upon a news bulletin about the case. Over the years and across continents, the material Jana gathered in her search for the real Takako outgrew multiple attempts at screenplays and became this remarkable, genre-bending essay that leans into the space between fact and fiction, life and death, author and subject, reality and delusion.