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Proudman C: He Said, She Said / B

He Said, She Said

Truth, Trauma and the Struggle for Justice in Family Court

You Don't Need a Dick to DJ

The Hour of the Wolf

War came to North Africa in June 1940. But it was over a year before a newly-formed SAS went into action. Until then, the fight belonged to an elite, top secret band of brothers called the Long Range Desert Group. They were Britain's first special forces. Born out of a pre-war club of explorers, eccentrics and mavericks, the LRDG operated alone behind enemy lines, performing astonishing feats of navigation, endurance and survival, and paved the way for the SAS. Drawing on his own decade's service with UK Special Forces, Titch Cormack brings to life the action-packed but little-known story of Britain's original rogue heroes.

SAS 101

The Battle That Turned World War II in the East

Burma '44

Untitled

QUIXOTIC FISSURES

The 10:12

In works such as The Mask of Anarchy? and "A Philosophical View of Reform,? Matthew C. Borushko argues, Percy Bysshe Shelley intervenes in the reformist crisis of agency occasioned by the dramatic historical and political violence that characterized Britain during the Romantic period. He shows how Shelley's body or work reconceived the possibility of the political possibilities of art and explores the implications of Shelley's nonviolence for later artists and reformers such as George Bernard Shaw to Mohandas K. Gandhi.

Aesthetics and Politics in an Age of Revolution

Shelley's Romantic Nonviolence

A Jewish Story of Survival in 1940s France

Ninette's War

Through a re-examination of the theoretical study of time and embodiment, this collection proposes an innovative new discourse in which to situate film. Each of its essays, written by a host of renowned international scholars, demonstrate the embodiment of time to be a vital part of the aesthetic experience of cinema. Analysing a broad range of films such as Beasts of the Southern Wild (USA, 2012), Talk to Her (Spain, 2002), Millennium Actress (Japan, 2001), Jab Tak Hai Jaan (India, 2012), and Jinpa (China, 2018), they each draw specific attention to moments of change and transformation, so as to explore how films operate as dynamic carriers of social meaning. Contributors examine key questions of embodied time as represented on screen; as a way of rethinking the centrality of the individual, of depicting gendered differences, of decentring western perspectives to consider embodied time in a widened global context, and as a way of expanding what embodiment means in post-human narratives. In doing so, this study not only highlights specific discourses of radical, lived experience in film, but also considers how distinctions of race and class, gender and sexuality, migration, religion, and indigeneity affect these depictions of embodied subjectivity.

Time and the Cinematic Body

Radical Embodiment on Film

The Rage of Party

Examines the work of feminists in India and their successful use of legislative lobbying and strategic litigation in their fight for equality and self-determination.

Feminist Legal Activism in India

He Said, She Said

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