Explore the vast range of titles available.

Between 1963 and 1972 America experienced over 750 urban revolts. Considered collectively, they comprise what Peter Levy terms a 'Great Uprising'. Levy examines these uprisings over the arc of the entire decade, in various cities across America. He challenges both conservative and liberal interpretations, emphasizing that these riots must be placed within historical context to be properly understood. By focusing on three specific cities as case studies - Cambridge and Baltimore, Maryland, and York, Pennsylvania - Levy demonstrates the impact which these uprisings had on millions of ordinary Americans. He shows how conservatives profited politically by constructing a misleading narrative of their causes, and also suggests that the riots did not represent a sharp break or rupture from the civil rights movement. Finally, Levy presents a cautionary tale by challenging us to consider if the conditions that produced this 'Great Uprising' are still predominant in American culture today.

National levels of personal health-care access and quality can be approximated by measuring mortality rates from causes that should not be fatal in the presence of effective medical care (ie, amenable mortality). Previous analyses of mortality amenable to health care only focused on high-income countries and faced several methodological challenges. In the present analysis, we use the highly standardised cause of death and risk factor estimates generated through the Global Burden of Diseases, Injuries, and Risk Factors Study (GBD) to improve and expand the quantification of personal health-care access and quality for 195 countries and territories from 1990 to 2015. We mapped the most widely used list of causes amenable to personal health care developed by Nolte and McKee to 32 GBD causes. We accounted for variations in cause of death certification and misclassifications through the extensive data standardisation processes and redistribution algorithms developed for GBD. To isolate the effects of personal health-care access and quality, we risk-standardised cause-specific mortality rates for each geography-year by removing the joint effects of local environmental and behavioural risks, and adding back the global levels of risk exposure as estimated for GBD 2015. We employed principal component analysis to create a single, interpretable summary measure–the Healthcare Quality and Access (HAQ) Index–on a scale of 0 to 100. The HAQ Index showed strong convergence validity as compared with other health-system indicators, including health expenditure per capita (r=0·88), an index of 11 universal health coverage interventions (r=0·83), and human resources for health per 1000 (r=0·77). We used free disposal hull analysis with bootstrapping to produce a frontier based on the relationship between the HAQ Index and the Socio-demographic Index (SDI), a measure of overall development consisting of income per capita, average years of education, and total fertility rates. This frontier allowed us to better quantify the maximum levels of personal health-care access and quality achieved across the development spectrum, and pinpoint geographies where gaps between observed and potential levels have narrowed or widened over time. Between 1990 and 2015, nearly all countries and territories saw their HAQ Index values improve; nonetheless, the difference between the highest and lowest observed HAQ Index was larger in 2015 than in 1990, ranging from 28·6 to 94·6. Of 195 geographies, 167 had statistically significant increases in HAQ Index levels since 1990, with South Korea, Turkey, Peru, China, and the Maldives recording among the largest gains by 2015. Performance on the HAQ Index and individual causes showed distinct patterns by region and level of development, yet substantial heterogeneities emerged for several causes, including cancers in highest-SDI countries; chronic kidney disease, diabetes, diarrhoeal diseases, and lower respiratory infections among middle-SDI countries; and measles and tetanus among lowest-SDI countries. While the global HAQ Index average rose from 40·7 (95% uncertainty interval, 39·0–42·8) in 1990 to 53·7 (52·2–55·4) in 2015, far less progress occurred in narrowing the gap between observed HAQ Index values and maximum levels achieved; at the global level, the difference between the observed and frontier HAQ Index only decreased from 21·2 in 1990 to 20·1 in 2015. If every country and territory had achieved the highest observed HAQ Index by their corresponding level of SDI, the global average would have been 73·8 in 2015. Several countries, particularly in eastern and western sub-Saharan Africa, reached HAQ Index values similar to or beyond their development levels, whereas others, namely in southern sub-Saharan Africa, the Middle East, and south Asia, lagged behind what geographies of similar development attained between 1990 and 2015. This novel extension of the GBD Study shows the untapped potential for personal health-care access and quality improvement across the development spectrum. Amid substantive advances in personal health care at the national level, heterogeneous patterns for individual causes in given countries or territories suggest that few places have consistently achieved optimal health-care access and quality across health-system functions and therapeutic areas. This is especially evident in middle-SDI countries, many of which have recently undergone or are currently experiencing epidemiological transitions. The HAQ Index, if paired with other measures of health-system characteristics such as intervention coverage, could provide a robust avenue for tracking progress on universal health coverage and identifying local priorities for strengthening personal health-care quality and access throughout the world. Bill & Melinda Gates Foundation.

After decades of silence on the subject of homosexuality, television in the 1990s saw a striking increase in programming that incorporated and, in many cases, centered on gay material. In shows including Friends, Seinfeld, Party of Five, Homicide, Suddenly Susan, The Commish, Ellen, Will & Grace, and others, gay characters were introduced, references to homosexuality became commonplace, and issues of gay and lesbian relationships were explored, often in explicit detail. In Gay TV and Straight America, Ron Becker draws on a wide range of political and cultural indicators to explain this sudden upsurge of gay material on prime-time network television. Bringing together analysis of relevant Supreme Court rulings, media coverage of gay rights battles, debates about multiculturalism, concerns over political correctness, and much more, Becker's assessment helps us understand how and why televised gayness was constructed by a specific culture of tastemakers during the decade. On one hand the evidence points to network business strategies that embraced gay material as a valuable tool for targeting a quality audience of well-educated, upscale adults looking for something \"edgy\" to watch. But, Becker also argues that the increase of gay material in the public eye creates growing mainstream anxiety in reaction to the seemingly civil public conversation about equal rights. In today's cultural climate where controversies rage over issues of gay marriage yet millions of viewers tune in weekly to programs like Queer Eye for the Straight Guy, this book offers valuable insight to the complex condition of America's sexual politics.

In this first book-length study of media images of multiracial Asian Americans, Leilani Nishime traces the codes that alternatively enable and prevent audiences from recognizing the multiracial status of Asian Americans. Nishime's perceptive readings of popular media--movies, television shows, magazine articles, and artwork--indicate how and why the viewing public often fails to identify multiracial Asian Americans. Using actor Keanu Reeves, the Matrix trilogy, and golfer Tiger Woods as examples, Nishime suggests that this failure is tied to gender, sexuality, and post-racial politics. Also considering alternative images such as reality TV star Kimora Lee Simmons, the television show Battlestar Galactica, and the artwork of Kip Fulbeck, this incisive study offers nuanced interpretations that open the door to a new and productive understanding of race in America.

This insightful study places African American women's stardom in historical and industrial contexts by examining the star personae of five African American women: Dorothy Dandridge, Pam Grier, Whoopi Goldberg, Oprah Winfrey, and Halle Berry. Interpreting each woman's celebrity as predicated on a brand of charismatic authority, Mia Mask shows how these female stars have deftly negotiated the uneven terrain of racial, gender, and class stereotypes. As international celebrities, these women have ultimately complicated the conventional discursive and industrial practices through which blackness and womanhood have been represented in commercial cinema, independent film, and network television._x000B__x000B_Mask examines the function of these stars in seminal yet underanalyzed films. She considers Dandridge's status as a sexual commodity in films such as Tamango, revealing the contradictory discourses regarding race and sexuality in segregation-era American culture. Grier's feminist-camp performances in sexploitation pictures Women in Cages and The Big Doll House and her subsequent blaxploitation vehicles Coffy and Foxy Brown highlight a similar tension between representing African American women as both objectified stereotypes and powerful, self-defining icons. Mask reads Goldberg's transforming habits in Sister Act and The Associate as representative of her unruly comedic routines, while Winfrey's daily television performance as self-made, self-help guru echoes Horatio Alger's narratives of success. Finally, Mask analyzes Berry's meteoric success by acknowledging the ways in which Dandridge's career made Berry's possible.

Images of violent black masculinity are not new in American culture, but in the late 1980s and early '90s, the social and economic climate in the country contributed to an unprecedented number of films about ghetto life. And while Hollywood reaped financial gains from these depictions, the rest of the country saw an ever widening \"opportunity gap\" between marginalized groups and mainstream society, as well as an increase in juvenile violence. These events added to the existing discomfort of the viewing public with representations of young black males living in urban ghettos. Black on Black: Urban Youth Films and the Multicultural Audience tackles the under-examined subject of black, male-focused, coming-of-age films in American society. Of central concern is an analysis of responses made by culturally diverse young adults to selected \"Hood\" films of the early 1990s. Grounded in Reader-Response Theory and utilizing qualitative research design and analysis, author Celeste Fisher examines student interpretations of three representative films of the period: Boyz N the Hood, Juice and Menace II Society. This book provides insight into how meaning is made by a multicultural audience in response to a particularly controversial representation of \"Blackness\" in American society. Developed to make sense of the violence that accompanied the screenings of some Hood films, this research provides a greater understanding of how such films are interpreted. Black on Black is suitable for scholars and students interested in the subject, as well as for anyone interested in film, race, multiculturalism, and identity politics.

In this provocative study of cinematic and televisual representations of \"sex radicalism,\" Carol Siegel explores how representations of sexually explicit content on film have shaped American cultural visions of sex and sexual politics in the 21st century. Siegel distinguishes between a liberal approach to visual representations, which has over-emphasized normative equal opportunity while undervaluing our distinctive erotic selves, and a radical approach to visual representation, which portrays forbidden sexualities and desires. She illustrates how visual media participates in and even drives political policies related to pedophilia, prostitution, interracial relationships, and war. By examining such popular film and television shows as Mystic River, The Wire, Fifty Shades of Grey, Batman Returns, and the HBO hits, Sex and the City and Girls, Siegel takes the discussion of radical sex in the movies out of the margins of political discussions and puts it in the center, where, she argues, it has belonged all along.

From the earliest years of sound film in America, Hollywood studios and independent producers of \"race films\" for black audiences created stories featuring African American religious practices. In the first book to examine how the movies constructed images of African American religion, Judith Weisenfeld explores these cinematic representations and how they reflected and contributed to complicated discourses about race, the social and moral requirements of American citizenship, and the very nature of American identity. Drawing on such textual sources as studio production files, censorship records, and discussions and debates about religion and film in the black press, as well as providing close readings of films, this richly illustrated and meticulously researched book brings religious studies and film history together in innovative ways.

This lively study unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Stephane Dunn explores the typical, sexualized, subordinate positioning of women in low-budget blaxploitation action narratives as well as more seriously radical films like Sweet Sweetback's Baadasssss Song and The Spook Who Sat by the Door, in which black women are typically portrayed as trifling \"bitches\" compared to the supermacho black male heroes. The terms \"baad bitches\" and \"sassy supermamas\" signal the reversal of this positioning with the emergence of supermama heroines in the few black action films in the early 1970s that featured self-assured, empowered, and tough (or \"baad\") black women as protagonists: Cleopatra Jones, Coffy, and Foxy Brown._x000B__x000B_Dunn offers close examination of a distinct moment in the history of African American representation in popular cinema, tracing its emergence out of a radical political era, influenced especially by the Black Power movement and feminism. \"Baad Bitches\" and Sassy Supermamas also engages blaxploitation's impact and lingering aura in contemporary hip-hop culture as suggested by its disturbing gender politics and the \"baad bitch daughters\" of Foxy Brown and Cleopatra Jones, rappers Foxy Brown and Lil' Kim.