Kirjahaku

A swoony LGBTQ+ summer romance, perfect for fans of Becky Albertalli.Seventeen-year-old Emma is dreading spending the summer with her mom, who's never accepted that Emma's gay. But when she arrives, she discovers her mom has remarried in secret - and while she heads off on a cruise with her new husband, she's sending Emma to summer camp.Camp Mapplewood is Emma's nightmare. But when she tries to escape, she's caught by one of the counsellors: Vivian. They're drawn to one another, and grow closer. But the end of the summer looms. When they have to return to their normal lives, can they find a way to stay together?

The 1950s and 60s were times of extraordinary social and political change across North America that re-drew the boundaries between traditional and progressive, conservative and liberal. Nowhere is this more apparent than in the history of Catholic nuns. During these two decades, nuns boldly experimented with their role in the church, removing their habits, rejecting the cloister, and fighting for social justice. The media quickly took to their cause and dubbed them 'the new nuns,' modern exemplars of liberated but sexually contained womanhood.With Visual Habits, Rebecca Sullivan brings this unexamined history of nuns to the fore, revisiting the intersection of three distinct movements - the Second Vatican Council, the second wave of feminism, and the sexual revolution - to explore the pivotal role nuns played in revamping cultural expectations of femininity and feminism.From The Nun's Story to The Flying Nun to The Singing Nun, nuns were a major presence in the mainstream media. Charting their evolving representation in film and television, popular music, magazines, and girls' literature, Sullivan discusses these images in the context of the period's seemingly unlimited potential for social change. In the process, she delivers a rich cultural analysis of a topic too long ignored.

The 1950s and 60s were times of extraordinary social and political change across North America that re-drew the boundaries between traditional and progressive, conservative and liberal. Nowhere is this more apparent than in the history of Catholic nuns. During these two decades, nuns boldly experimented with their role in the church, removing their habits, rejecting the cloister, and fighting for social justice. The media quickly took to their cause and dubbed them 'the new nuns,' modern exemplars of liberated but sexually contained womanhood.With Visual Habits, Rebecca Sullivan brings this unexamined history of nuns to the fore, revisiting the intersection of three distinct movements - the Second Vatican Council, the second wave of feminism, and the sexual revolution - to explore the pivotal role nuns played in revamping cultural expectations of femininity and feminism.From The Nun's Story to The Flying Nun to The Singing Nun, nuns were a major presence in the mainstream media. Charting their evolving representation in film and television, popular music, magazines, and girls' literature, Sullivan discusses these images in the context of the period's seemingly unlimited potential for social change. In the process, she delivers a rich cultural analysis of a topic too long ignored.

Bonnie Sherr Klein’s “Not a Love Story” provocatively examines the first Canadian film to explore pornography’s role in society from a feminist perspective. Directed by Bonnie Sherr Klein for Studio D, the National Film Board’s women’s unit, the film featured both Klein and Lindalee Tracey, an activist, performance artist, and stripper, as they toured the seamier fringes of pornography and sex work in Montreal, Toronto, New York, and San Francisco. Censored in Ontario upon its release in 1981, Not a Love Story collided with the escalating “Porn Wars” that contributed to the tearing apart of the second-wave feminist movement. Using interviews with members of the crew and extensive archival research into the production process, Rebecca Sullivan delves into the creation and reception of Not a Love Story to explore the issues of censorship, sexual labour and performance, and documentary practice that the film raised. An insightful analysis not just of the film itself but of the issues which surround feminist analyses of pornography as a genre, Bonnie Sherr Klein’s “Not a Love Story” offers a fresh assessment of Canada’s women’s movement and the politics of feminist filmmaking during a volatile era.

Bonnie Sherr Klein’s “Not a Love Story” provocatively examines the first Canadian film to explore pornography’s role in society from a feminist perspective. Directed by Bonnie Sherr Klein for Studio D, the National Film Board’s women’s unit, the film featured both Klein and Lindalee Tracey, an activist, performance artist, and stripper, as they toured the seamier fringes of pornography and sex work in Montreal, Toronto, New York, and San Francisco. Censored in Ontario upon its release in 1981, Not a Love Story collided with the escalating “Porn Wars” that contributed to the tearing apart of the second-wave feminist movement. Using interviews with members of the crew and extensive archival research into the production process, Rebecca Sullivan delves into the creation and reception of Not a Love Story to explore the issues of censorship, sexual labour and performance, and documentary practice that the film raised. An insightful analysis not just of the film itself but of the issues which surround feminist analyses of pornography as a genre, Bonnie Sherr Klein’s “Not a Love Story” offers a fresh assessment of Canada’s women’s movement and the politics of feminist filmmaking during a volatile era.

Throughout her career, Natalie Wood teetered precariously on the edge of greatness. Trained in the classical Hollywood studio style, but best mentored by Method directors, Wood was the ideal actress for roles depicting shifting perceptions of American womanhood. Nonetheless, while many of her films are considered classics of mid-twentieth century American cinema, she is less remembered for her acting than she is for her mysterious and tragic death. Rebecca Sullivan's lucid and engaging study of Natalie Wood's career sheds new light on her enormous, albeit uneven, contributions to American cinema. This persuasive text argues for renewed appreciation of Natalie Wood by situating her enigmatic performances in the context of a transforming star industry and revolutionary, post-war sexual politics.

You have to step off the trail to find your path . . .When her mother unceremoniously dumps her at Camp Mapplewood for the summer, Emma Lane's hopes of repairing their fractured relationship are gone with the wind. Now she's stuck in the wilderness facing her worst fears. Trees? Terrifying. Spiders? Even worse. And don't even get Emma started on how she feels about camp activities. But Emma's got a plan, and she will do anything in her power to get kicked out of camp, from sleeping in to playing practical jokes on her fellow campers. Yet when Emma draws the attention of her illusive and attractive camp counselor Vivian Black, she has to come to terms with the fact that how her summer starts isn't necessarily how it might end. Will Vivian be the key to unlocking Emma's fears once and for all?