Through A Lens Darkly

Shows that the history of black photographers intertwines with the story of African American life, as seen through photographs ranging from antebellum weddings and 1960s protest marches, to portraits of contemporary black celebrities.

Through an analysis of a series of poignant films on the plight of the Native Americans, the controversial Armenian genocide, the Holocaust and its legacy, the killing fields of Cambodia, and the Hutu-sponsored massacres in Rwanda, the reader can grasp the driving mechanisms of genocide and ethnic cleansing.

Examines dramatic motion pictures and documentary films depicting the September 11 terrorist attacks and the events that followed.

Do journalists report more favourably on people that they like than on those they don't? Canada's evangelicals think so. For years, they've accused the country's news personnel of being prejudiced against them both personally and in their coverage. However, up to now, the evangelicals' charge of media bias has never been empirically examined. This book puts that charge to the test. An in depth survey of national news personnel accompanied by an extensive, multi-year examination of news coverage reveals how Canada's journalists feel about evangelicals, how they report on evangelicals, and how and when their feelings influence their reporting. In the end, this book concludes when the beliefs and actions of Canadian evangelicals directly clash with the heart-felt convictions of Canadian national journalists, the journalists are willing to abandon their professional objectivity and slant their stories against their ideological opponents. In addition, this book uses the media's treatment of evangelicals as a backdrop for the discussion of larger issues. How the media construct the news, how and why the media cover religion as they do, whether journalistic objectivity exists at all, and the affect media messages have on audiences is explored. Also, advice on how religious groups can overcome media bias is offered. As the first book to apply the tools of quantitative research to the topic of religion and the news in Canada, this book is groundbreaking. However, written with the lay reader in mind, the theoretical underpinnings of the work and methodologies used are presented in accessible, easy-to-understand terms. This book will be of interest to all member of the evangelical community, clergy and faith leaders, and scholars of religion or mass communication. "This is response rather than reaction. Intelligent, balanced, incisive and instructive. At last such a book about such a subject from someone who understands evangelical Christianity as well as media. Essential reading for everyone interested in both." - Michael Coren, Author, columnist and broadcaster David M. Haskell, Ph.D., is associate professor of journalism and contemporary studies at the Brantford campus of Wilfrid Laurier University.

THE DAYS BETWEEN Christmas and New Year’s Eve are dead days, when spirits roam and magic shifts restlessly just beneath the surface of our lives. A magician called Valerian must save his own life within those few days or pay the price for the pact he made with evil so many years ago. But alchemy and sorcery are no match against the demonic power pursuing him. Helping him is his servant, Boy, a child with no name and no past. The quick-witted orphan girl, Willow, is with them as they dig in death fields at midnight, and as they are swept into the sprawling blackness of a subterranean city on a journey from which there is no escape. Praise for The Book of Dead Days: “Beautifully paced and sometimes blood-soaked. . . . A very tangible sense of evil.”—The Guardian “Subtle menace and power.”—The Independent “Packed with drama, mystery, and intrigue.”—The Bookseller

The visual legacy of Florestine Perrault Collins, who documented African American life in New Orleans Florestine Perrault Collins (1895-1988) lived a fascinating and singular life. She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s Black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.  Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.  It is this legacy that Arthé Anthony, Collins's great-niece, explores in Picturing Black New Orleans. Anthony blends Collins's story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.  Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

A fascinating journey into the dark heart of the American gothic that analyzes its connections to race and racism in 21st-century America Haunted houses, bitter revenants and muffled heartbeats under floorboards—the American gothic is a macabre tale based on a true story. Part memoir and part cultural critique, Darkly explores American culture’s inevitable gothicity in the traces left from chattel slavery. The persistence of white supremacy and the ubiquity of Black death feeds a national culture of terror and a perpetual undercurrent of mourning. If the gothic narrative is metabolized fear, if the goth aesthetic is

Though a 1996 peace accord brought a formal end to a conflict that had lasted for thirty-six years, Guatemala's violent past continues to scar its troubled present and seems destined to haunt its uncertain future. George Lovell brings to this revised and expanded edition of A Beauty That Hurts decades of fieldwork throughout Guatemala, as well as archival research. He locates the roots of conflict in geographies of inequality that arose during colonial times and were exacerbated by the drive to develop Guatemala's resources in the nineteenth and early twentieth centuries. The lines of confrontation were entrenched after a decade of socioeconomic reform between 1944 and 1954 saw modernizing initiatives undone by a military coup backed by U.S. interests and the CIA. A United Nations Truth Commission has established that civil war in Guatemala claimed the lives of more that 200,000 people, the vast majority of them indigenous Mayas. Lovell weaves documentation about what happened to Mayas in particular during the war years with accounts of their difficult personal situations. Meanwhile, an intransigent elite and a powerful military continue to benefit from the inequalities that triggered armed insurrection in the first place. Weak and corrupt civilian governments fail to impose the rule of law, thus ensuring that Guatemala remains an embattled country where postwar violence and drug-related crime undermine any semblance of orderly, peaceful life.