Susan Lord

A guide for parents who want to implement a gluten-free casein-free diet for their children, especially those with developmental disabilities, with tips on starting the plan, over seventy recipes, and shopping lists that focus on keeping essential nutrients in the child's diet.

Getting Your Kid on a Gluten-free Casein-free Diet

Annette Burfoot

"The examination of women and violence has traditionally focused on women who are killed or who are the victims of violence. Women murderers were often portrayed as vengeful wronged women or as maternal protectors. Recently, however, there have been significant shifts in the characterization of women who kill, in both popular culture (Lara Croft, Buffy, and Kill Bill) and in the current global political landscape (the so-called angels of death in Palestine). The essays in this book explore gender and violence by focusing on visual culture -- films, museums, art, archives, and the news media -- and by engaging with contemporary theories and practices of identity politics and the debates about the ethics and politics of representation itself. Does representation create or recreate the conditions of violence? Is representation itself a form of violence? Weaving between fact and fiction, the contributors examine the powerful role culture plays in the production and reproduction of social meaning. The collection offers fresh analyses of well-established sources for the study of women and violence, including the horror film and the court trials of women who have killed their abusive husbands. It adds significant new dimensions to the characterization of gender and violence with the inclusion of nationalism and war, feminist media, and the exploration of violence circulated through non-obvious sources, such as medical cultural practice and the information society."--P. [4] of cover.

The Visual Culture of Gender and Violence

Killing Women

The essays in Killing Women: The Visual Culture of Gender and Violence find important connections in the ways that women are portrayed in relation to violence, whether they are murder victims or killers. The book’s extensive cultural contexts acknowledge and engage with contemporary theories and practices of identity politics and debates about the ethics and politics of representation itself. Does representation produce or reproduce the conditions of violence? Is representation itself a form of violence? This book adds significant new dimensions to the characterization of gender and violence by discussing nationalism and war, feminist media, and the depiction of violence throughout society.

María Caridad Cumaná

Throughout the 1960s until her untimely death in 1974, Afro-Cuban filmmaker Sara Gómez engaged directly and courageously with the social, political, economic, and cultural transformations promised by the Cuban Revolution. Gómez directed numerous documentary films in 10 prolific years. She also made De cierta manera (One way or another), her only feature-length film. Her films navigate complex experiences of social class, race, and gender by reframing revolutionary citizenship, cultural memory, and political value. Not only have her inventive strategies become foundational to new Cuban cinema and feminist film culture, but they also continue to inspire media artists today who deal with issues of identity and difference. The Cinema of Sara Gómez assembles history, criticism, biography, methodology, and theory of Gómez's work in scholarly writing; interviews with friends and collaborators; the film script of De cierta manera; and a detailed and complete filmography. Featuring striking images, this anthology reorients how we tell Cuban cinema history and how we think about the intersections of race, gender, and revolution. By addressing Gómez's entire body of work, The Cinema of Sara Gómez unpacks her complex life and gives weight to her groundbreaking cinema.

Reframing Revolution

The Cinema of Sara Gómez

Throughout the 1960s and '70s, Afro-Cuban filmmaker Sara Gómez endured social, political, economic, and cultural transformation in Cuba, experiences that are manifested in her revolutionary work. Gómez produced many short documentary films in 10 prolific years. She also created De cierta manera (One way or another), her only feature-length film prior to her untimely death. Her carefully crafted utopian scenes navigate complex social, racial, and sexual relationships. Not only have her inventive strategies become foundational to new Cuban cinema and feminist film culture, but they also still inspire media artists today who deal with issues of identity and difference. The Cinema of Sara Gómez assembles a comprehensive history, criticism, biography, methodology, and theory of Gómez's entire body of work, unpacking her complex life and giving weight to her groundbreaking cinema.

Janine Marchessault

As a medium, film is constantly evolving both in form and in content. Fluid Screens, Expanded Cinema considers the shift from traditional cinema to new frontiers of interactive, performative, and networked media. Using the theories of Marshall McLuhan and Gilles Deleuze as a starting point, renowned scholars from the fields of film theory, communication studies, cultural studies, and new media theory explore the ways in which digital technology is transforming contemporary visual culture. The essays consider a series of questions: What constitutes the "new" in new media? How are digital aesthetics different from film aesthetics? What new forms of spectatorship and storytelling, political community, and commodity production are being enabled through the digital media? Using Gene Youngblood's 1970 book Expanded Cinema as an anchor for the volume, Fluid Screens, Expanded Cinema understands the digital not simply as a technological form, but also as an experience of space and time that is tied to capitalism. This important collection is unique in framing a range of social justice issues with aesthetic theories of new digital screen culture that will appeal to scholars and multimedia artists prepared to break new ground.

Susan Lord

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