In The Underwater Eye, Margaret Cohen tells the fascinating story of how the development of modern diving equipment and movie camera technology has allowed documentary and narrative filmmakers to take human vision into the depths, creating new imagery of the seas and the underwater realm, and expanding the scope of popular imagination. Innovating on the most challenging film set on earth, filmmakers have tapped the emotional power of the underwater...

Following the death of a friend, the poet and pets' mortician Dennis Barlow finds himself entering the artificial Hollywood paradise of the Whispering Glades Memorial Park. Within its golden gates, death, American-style, is wrapped up and sold like a package holiday--and Dennis gets drawn into a bizarre love triangle with Aimée Thanatogenos, a naïve Californian corpse beautician, and Mr. Joyboy, a master of the embalmer's art.

"How does the sudden onset of disability impact the sense of self in a person whose identity was, at least in part, predicated on the possession of what is culturally understood to be an "able" body? How does this experience make visible the structures enabling society's shared notions of heteronormative masculinity? In the United States, the Second World War functioned as a key moment in the emergence of modern understandings of disability, demonstrating...

In this moral conundrum that ponders how much moviegoers enjoy depictions of violence on a grand scale, an acclaimed film critic turns his attention to war movies, exploring how war and cinema in the 20th century became inextricably linked, transforming civilian experience of war--and history itself--for millions around the globe.

"The queer slasher film is an integral icon of horror, and within that genre characters like Freddy Krueger have an avid fanbase whose conversations shift as history does and as perceptions of gender, sexuality, and identity do. In a sense, it seems these audiences know or feel when a slasher is queer but can't pinpoint why. Queer Slashers answers this question 'What is queer about the slasher?' Examining queer history and the queer function of the...

When abrasive Hollywood director Robert Reeves is accused of murdering a stuntman, lawyer Sandy Moss reluctantly accepts the case. Robert might be an egotistical liar, but something tells Sandy he's innocent. At least this time, her charismatic, adorable and oh so annoying movie star boyfriend Patrick McNabb isn't involved. He isn't, right?