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Introduction -- Chapter 1: Bodies Under Scrutiny -- Chapter 2: Trans Identity as a Cis Problem or the "Cis Surprise -- Chapter 3: Comedic Romance: Trans Props and Pathetic Cis Partners -- Chapter 4: Dramatic Romance and the Value(s) of Tragedy -- Chapter 5: Trans Criminality: From Dangerous Sociopaths to Sassy Hookers -- Chapter 6: Trans Victims: Dead or Alive -- Appendix A: Glossary for Gender Identities and Characters -- Appendix B: Timeline of Trans Characters in Scripted American Film and Television, 1965-2018.

As one half of what is currently the only divided country in the world, the phenomenon of the so-called "division film" in South Korea has developed as a reflection of the social changes associated with its divided national background. The divided Korean Peninsula, the cause of military confrontation between the two Koreas, the Korean War, and espionage activities, is the background for Korean division films. As a result, the divided state serves as a narrative element and can be explored as a theme. Since the release of the first division films in 1949, a year after the Korean Peninsula was split into two countries, division films have been produced constantly. This entry analyzes major political changes, focusing on the regime changes represented in division films and, based on this approach, explores the cinematic illustrations of modern Korean history in three distinct periods. In a bid to reflect the characteristics of the times, division films portray historical elements while acting successfully as an advanced form of art. Herein, I will examine the definition and the range of these division films. This entry thus aims to discuss, in depth, the origin and history of Korea's division films.

The aim of this thesis is to explore the development of Swedish fashion between 1930 and 1960 by examining the textile and clothing industry from the wider perspective of fashion production. It was during this period that Sweden was transformed into a leading industrial nation, which laid the foundation for increased prosperity in the post-war period. This historical and empirical study is predominantly based on systematic analysis of Swedish official statistics and close reading of the fashion press. The thesis applies a combination of approaches in the analytical chapters (chapter 2–4) that include three central aspects of fashion production: manufacturing, symbolic production, and the production of a national fashion. Chapter 2 gives an account of the industrial production of clothing and examines the scope, size and structure of the textile and clothing industry. The results confirm its importance to the Swedish economy in the period. One important finding shows that a shift in production from tailored outerwear to lighter garments occurred as early as the mid-1950s. Chapter 3 investigates the symbolic production of fashion by looking at the structure of the field of fashion in Sweden. The results show a French dominance where couturiers were celebrated as creative 'artists'. A significant finding is how the idea of Swedish fashion was considered a process of creating economic value, as in clothing manufacturing. Chapter 4 deals with fashion as an expression of national culture. The result reveals a significant fashion culture associated with an everyday wear fashion that followed the Social Democratic reforms aimed at equality in society during the period. One important finding is that the wool coat was the hallmark of Swedish fashion identity in the post-war period. These results contribute to a broader understanding of fashion production and new insights into the history of its developments in Sweden between 1930 and 1960, which has gone largely unrecognised by previous fashion historians.

The burgeoning scholarship on Western health films stands in stark contrast to the vacuum in the historical conceptualization of Eastern European films. This book develops a nonlinear historical model that revises their unique role in the inception of national cinematography and establishing supranational health security.

Readers witness the revelation of an unknown history concerning how the health films produced in Eastern European countries not only adopted Western patterns of propaganda but actively participated in its formation, especially with regard to those considered "others": Women and the populations of the periphery. The authors elaborate on the long "echo" of the discursive practices introduced by health films within public health propaganda, as well as the attempts to negate and deconstruct such practices by rebellious filmmakers. A wide range of methods, including the analysis of the sociological biographies of filmmakers, the historical reconstruction of public campaigns against diseases and an investigation into the production of health films, contextualizes these films along a multifaceted continuum stretching between the adaptation of global patterns and the cultivation of national authenticities.

The book is aimed at those who study the history of film, the history of public health, Central and Eastern European countries and global history.

Abstract
With a view of Georgian cinema under the current spotlights of various international film festivals, the author reviews the state of the art of Georgian film production, linking it to the impressively long history of Georgia's cinematographic production. Recently, a targeted film promotion policy has focused on international co-productions and on fostering cooperative ventures with European partners. Among the young filmmakers a remarkably large proportion are female.