Taking a decade-by-decade approach to the University of Iowa football tradition, this collection brings together over 40 stories from the most outstanding voices of the program. The spirit of Hawkeye football is not captured by just one phrase, one season, or one particular game; instead, the student-athletes and coaches who made the magic happen over the decades blend their experiences to capture the true essence of their beloved school. Iowa fans will relish the intimate stories told by the figures they have come to cherish.

Collects Avengers (1963) #51-58 and Annual #2, X-Men (1963) #45. Take a trip through one of the most stellar creative periods in Avengers’ history! The Black Panther joins the team, the Avengers fight the X-Men, a new Masters of Evil debuts, the story of Bucky Barnes’ tragic death is told in full for the first time, the new Avengers and the original Avengers face off in a reality-bending battle — and don’t forget the first appearance of Ultron! Plus, one of the most famous stories in all of Marveldom: the Vision’s debut in “Even an Android Can Cry.”

The book behind the hit TV series and movie. The doctors and nurses who worked in the Mobile Army Surgical Hospitals (MASH) during the Korean War were well trained, dedicated, and pushed to the brink. And they were young - too young to be doing what they had to do. As Richard Hooker writes in the Foreword, 'A few flipped their lids, but most of them just raised hell, in a variety of ways and degrees.' Meet the true-life heroes and lunatics who fought in the Korean War, and experience the martini-laced mornings, marathon high jinks, sexual escapades, and that perfectly corrupt football game that every fan of the movie will remember. It's also a story of hard work and skill in the face of enormous pressure and odds. Here is where it all began - the novel that made M*A*S*H a legend.

On one side is snide, arrogant, dismissive, sexist, racist, homophobic, transphobic, and otherwise abusive laughter. On the other side is laughter that is warm and supportive, compassionate and forgiving, encouraging, lifting, and healing. And there is so much in between. Such great differences in laughter lead to the question—can laughter make the world a better place? This book uses television shows like M*A*S*H and Malcolm in the Middle, movies like Zombieland and Life Is Beautiful, novels like A Confederacy of Dunces and The Sellout, insights by neuroscientists, philosophers, painters, social and political scientists, and an undocumented man and his daughter, as well as ideas from people like C. S. Lewis, Sigmund Freud, Brené Brown, Tiffany Haddish, and Hannah Gadsby to answer that question.

A mainstay of modern life, the global media gives out information about disabilities that is often inaccurate or negative and perpetuates oppressive stigmas and discrimination. In response to representations that have been incomplete, misguided or unimaginative, this collection of new essays encourages scholars and allies to refashion media so as to disrupt the status quo and move toward more liberatory politics. Images in film, television and social media are assessed through the lenses of disabilities studies, media studies, cultural studies and intersectional studies involving critical race theory and gender.

The 525 notable works of 19th and 20th century American fiction in this reference book have many stage, movie, television, and video adaptations. Each literary work is described and then every adaptation is examined with a discussion of how accurate the version is and how well it succeeds in conveying the spirit of the original in a different medium. In addition to famous novels and short stories by authors such as Nathaniel Hawthorne, F. Scott Fitzgerald, and Willa Cather, many bestsellers, mysteries, children's books, young adult books, horror novels, science fiction, detective stories, and sensational potboilers from the past two centuries are examined.

This examination of dark comedies of the 1970s focuses on films which concealed black humor behind a misleading genre label. All That Jazz (1979) is a musical...about death--hardly Fred and Ginger territory. This masking goes beyond misnomer to a breaking of formula that director Robert Altman called "anti-genre." Altman's MASH (1970) ridiculed the military establishment in general--the Vietnam War in particular--under the guise of a standard military service comedy. The picaresque Western Little Big Man (1970) turned the bluecoats vs. Indians formula upside-down--the audience roots for the Indians instead of the cavalry. The book covers 12 essential films, including Harold and Maude (1971), Slaughterhouse-Five (1972), One Flew Over the Cuckoo's Nest (1975) and Being There (1979), with notes on A Clockwork Orange (1971). These films reveal a compounding complexity that reinforces the absurdity at the heart of dark comedy.

Unsettling Sights: The Fourth World on Film examines the politics of representing Aboriginality, in the process bringing frequently marginalized voices and visions, issues and debates into the limelight. Corinn Columpar uses film theory, postcolonial theory, and Indigenous theory to frame her discussion of the cinematic construction and transnational circulation of Aboriginality. The result is a broad interdisciplinary analysis of how Indigeneity is represented in cinema, supported by more than twenty rigorous and theoretically informed case studies of contemporary feature films by both First- and Fourth-World filmmakers in the United States, Canada, New Zealand, and Australia. Columpar relies heavily on textual analysis of the films but also explores contextual issues in filmmaking such as funding, personnel, modes of production, and means of distribution. Part one of Unsettling Sights focuses on contact narratives in which the Aboriginal subject is constructed in reactive response to a colonizing or invading presence. Films such as The Piano and The Proposition, wherein a white man “goes native,” and The New World and Map of the Human Heart, which approach contact from the perspective of an Aboriginal character, serve as occasions to examine the ways in which Aboriginal identities are negotiated within dominant cinema. Part two shifts the focus from contact narratives to films that seek to define Aboriginality on its own terms, with reference to a (lost) homeland and/or Indigenous practices of (hi)story-telling: while texts such as Once Were Warriors and Smoke Signals foster an engagement with issues of deterritorialization, relocation, and urbanization, discussion of beDevil, Atanarjuat, and The Business of Fancydancing, among others,bring questions of voice, translation, and the relationship between cinema and oral tradition to the forefront. Unsettling Sights is the first significant, scholarly examination of Aboriginality and cinema in an international context and will be invaluable to scholars and students in many fields including cinema studies, anthropology, critical race studies, cultural studies, and postcolonial studies.