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1. Introduction identity, politics and experience -- 2 Consciousness-raising -- 3 Feminism -- 4 Self-denial -- 5 Morality -- 6 Emotional life -- 7 Work --8 Violence -- 9 Fascism -- 10 Therapy̜ -- 11 Politics -- 12 Conclusion recreating politics - socialism, feminism and ecology

This article explores the role of Film Finances Ltd in supporting the films of the British new wave focusing on six key films: Room at the Top , The Entertainer , Saturday Night and Sunday Morning , A Taste of Honey , A Kind of Loving and Billy Liar . It evaluates what the Film Finances Archive reveals about the production of these films and their budgets and box-office performance. The article demonstrates that Film Finances played a key role in encouraging new directors and artistes during a period of flux and transformation for the British film industry. It also sheds new light on the cultural and political economies of an important movement in British cinema history.

Calling for inclusion and dialogue, these essays by an international group of feminist scholars and activists stress the need to put into relation seemingly discrepant approaches to reality and to scholarship in order to build coalitions across the usual North/South and East/West divides. This diverse group of authors, who spent fourteen weeks working collaboratively, dispense with unity and seek instead to use dialogue and difference in their production of knowledge about effective political action. The dialogues materialized here among women's movements that have emerged within different contexts and cosmologies take feminisms' challenges to contemporary corporate globalization in new empirical and theoretical directions

An experiment was conducted in which M Coll S's were either deliberately angered by one of the 2 experimenters or were treated in a neutral fashion by him & then were shown either an aggressive prize fight scene or an equally-long neutral scene. 50% of the men seeing the prize fight were led to believe the aggression they witnessed was `justified,' while the others were made to think the aggression was `less justified.' The findings agree with those in an earlier study by Berkowitz & Rawlings, in indicating that film violence may well increase the probability that people in the audience will behave aggressively in a later situation (soon afterwards), particularly if the film violence appears morally justified. The justified fantasy aggression apparently weakens restraints against hostility in angered audience members. L. Berkowitz.

"Feminism and Gender Studies in International Relations Theory" published on by Oxford University Press.

Feminisms, Technology and Depth Psychology explores the intersection of a variety of feminist thought with technology through the lens of depth psychology and investigates how current approaches to technology impact female life globally--from internet use, to biotechnology, to how female creators imagine life.

La cimatheque, un centre alternatif du film, situé dans le centre du Caire a ouvert ses portes le 3 juin 2015. Elle est née d'abord du désir de jeunes cinéastes de créer une société de production indépendante. Avec la révolution le projet s'est étoffé, et la Cimathèque est devenue un lieu de rencontre, de projection, de production, de digitalisation, d'archivage, de débats à l'adresse de tous les cinéphiles. L'Égypte possède une longue tradition cinématographique, interrompue par des années de négligence, de corruption et un manque d'ambition pour un art profondément aimé par la population. La question de l'archivage du patrimoine cinématographique mais aussi des productions contemporaines sur divers supports est centrale dans le projet de la Cimathèque, surtout dans une époque de déconstruction du sens de l'histoire collective.

Die Anwendung des Erzählbegriffs auf Medien jenseits der Literatur erfordert eine interdisziplinäre Verständigung darüber, welche spezifische Form und Erkenntnisfunktion das Erzählen haben kann. Bilder, Ton und Musik haben für die Erzeugung der Ereignisse in der erzählten Geschichte einen eigenen Anteil und erweitern bzw. verschieben die Möglichkeiten und Formen des Erzählens wesentlich. Insbesondere das unzuverlässige Erzählen ist zu einer wichtigen Strömung des Gegenwartsfilms geworden und es lohnt zu fragen, wie es dazu kommt und warum audiovisuelle Medien gerade für diese narrative Möglichkeit prädestiniert zu sein scheinen.

How does film and video censorship operate in Britain? Why does it exist? And is it too strict? Starting in 1979, the birth of the domestic video industry - and the first year of the Thatcher government - this critical study explains how the censorship of films both in cinemas and on video and DVD has developed in Britain. As well as presenting a detailed analysis of the workings of the British Board of Film Classification, Petley casts his gaze well beyond the BBFC to analyse the forces which the Board has to take into account when classifying and censoring. These range from laws such as the Video Recordings Act and Obscene Publications Act, and how these are enforced by the police and Crown Prosecution Service and interpreted by the courts, to government policy on matters such as pornography. In discussing a climate heavily coloured by 30 years of lurid 'video nasty' stories propagated by a press which is at once censorious and sensationalist and which has played a key role in bringing about and legitimating one of the strictest systems of film and video/DVD censorship in Europe, this book is notable for the breadth of its contextual analysis, its critical stance and its suggestions for reform of the present system. Key features include: Detailed case studies of individual instances of censorship, including Last House on the Left, sex videos in the R18 category, and press-inspired campaigns against films such as Child's Play 3 and Crash. Interviews with central figures The author's own contemporaneous reports on key moments in the censorship process.