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"Women Make Horror is the first book-length study of women filmmakers in horror film, the first all-women edited book on horror film, and the first book to call out the male-bias in written histories of horror and then to illuminate precisely how, and where, these histories are lacking. It re-evaluates existing literature on the history of horror film, on women practitioners in the film industry and approaches to undertaking film industries research. It establishes new approaches for studying women practitioners and illuminates their unexamined contribution to the formation and evolution of the horror genre. The book focuses on women directors and screenwriters but also acknowledges the importance of women producers, editors and cinematographers. It explores narrative and experimental cinema, short, anthology and feature-filmmaking, and offers case studies of North American, Latin American, European, East Asian and Australian filmmakers, films and festivals. With this book we can transform how we think about women filmmakers and genre"--

This article opens with the questioning of a now established scholarly category, `French feminism'. It proposes that theoretical and polemical understandings of `French feminism' have been founded on an opposition to its counterpart, `Anglo-American feminism'. The measure of this opposition has been defined mostly as geographical, linguistic and cultural. But underneath such constructions often lies the old sameness vs difference debate that has captivated feminism since the suffragettes. The article argues for a less oppositional and less discounting definition of the two strands of feminism. It proposes to read oppositional classifications as motivation for a dialogue addressed to the `other ' of theoretical constructs; questioning the likelihood of foregoing oppositional classification.

Political historians traditionally privileged the political activities of men and masculine political institutions. This vision of political history was revised from the early 1970s, first by "women's history" and later due to the influence of the "gender turn". The latter encompassed a recognition that conceptions of masculinity and femininity contribute to the shaping of political power. Both developments challenged but ultimately reinvigorated political history. However, as this article will argue, political history and feminist history remain to an extent quarantined from one another, despite the radical potential for feminist scholarship to change the way politics is conceived.

Since the second-wave feminism of the 1970s, women's rights and opportunities in education and employment have increased across the globe. But has equality - whether social, political, or legal - really been achieved? Miriam E. David, a well-known and influential feminist in higher education, celebrates the achievements of international feminists of the past 50 years and provides a critique of how the expansion of global higher education has masked their pioneering zeal and zest for knowledge.

Everyday Revolutions is unique in its focus not on the activist or legislative achievements of the women's and gay and lesbian movements, but on their cultural and social dimensions. It is a diverse and rich collection of essays that reminds us that women's and gay liberation were revolutionary movements.

"Women on the Edge re-envisions women's cinema as contemporary political practices by exploring the works of twelve filmmakers. Moving on from the 1970s feminist adage that the personal is political, Sharon Lin Tay argues that contemporary women's cinema must exceed the personal to be politically relevant and ethically cogent"--Provided by publisher