“Strawberries and cigarettes still taste like you.” Arya, a voguish overachiever gets into IIT and finds herself in a whirlwind of reckless antics and youthful highs. She is a misfit at the prestigious engineering college as she resolves to pursue art. As life happens on campus that seems estranged to her, she keeps chasing highs with her friends until she stumbles upon an art instructor. The irrevocable collision of their worlds turns out to be an aesthetic awakening for Arya. She is caught up in an exquisite affair of love and pain as she encounters strangers on the way who make her world tragical and magical in their own ways.

"One of the very best film books in recent years. . . . There are any number of books on noir, but none as comprehensive, as rigorous, as far-reaching as Naremore's. . . . It will be the essential work for the field."--Dana Polan, University of Southern California

“The plot twists ingeniously...an engaging, often chilling book.”—The New York Times Book Review A writer in California. A doctor in Boston. A motel owner and his employee in Nevada. A priest in Chicago. A robber in New York. A little girl in Las Vegas. They’re a handful of people from across the country, living through eerie variations of the same nightmare. A dark memory is calling out to them. And soon they will be drawn together, deep in the heart of a sprawling desert, where the terrifying truth awaits...

When Shakespearean characters kiss, embrace, or shake hands, what does it mean? Are dramatic characters following established rules of conduct, or breaking them? Are there rules to break? Staging Touch in Shakespeare's England addresses these and related questions and, in the process, uncovers the social semiotics of contact in the early modern theatre. Its central argument is twofold. First, dramatic characters use touch to define and contest the nature of their relationships: taking hands means something different than embracing or, indeed, holding hands a different way. Second, the definitions, the social roles of actions like these, are up for debate in venues ranging from sermons to the era's burgeoning literature on conduct. The drama not only portrays but participates in these debates. Where characters touch, so do different ideas about contact's role in a variety of contexts, from love and friendship to politics and business deals. Attending to the social roles of touch--what it signifies as much as how it feels--the book develops an outside-in approach to our understanding of early modern sensation: a sociology, rather than a phenomenology, of theatrical contact. It will be of use to editors, performers, and anyone interested in Shakespearean approaches to embodiment. Locating interpersonal touch at the centre of dialogues on consent, subjection, agency, and sexuality, this study offers new perspectives on an essential element of Renaissance drama.

This title shows how a reconception of family and kinship underlies the revolutionary experiments of the modernist novel. While stories of marriage and long-lost relatives were a mainstay of classic Victorian fiction, the book suggests that rival countercurrents within these family plots set the stage for the formal innovations of Joyce and Proust. By investigating how the question of family is a hidden key to modernist structure and style, the book explores the formal narrative potential of queerness and in doing so rewrites the history of the modern novel.

From The Big Sleep to Babette's Feast, from Lawrence of Arabia to Drugstore Cowboy, The Movie Guide offers the inside word on 3,500 of the best motion pictures ever made. James Monaco is the president and founder of BASELINE, the world's leading supplier of information to the film and television industries. Among his previous books are The Encyclopedia of Film, American Film Now, and How to Read a Film.

Caroline and Lydia couldn't be more different. Caroline is careful and tidy, with four children; Lydia is single and seemingly out of control. When travellers move into a nearby field, a line is drawn through the village and the women seem to be on opposite sides of it. It changes their lives.

"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.