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Taniwha Creek is a great place to grow up, and Kaz, JT, and Tai love nothing better than to spend lazy afternoons hanging at their favorite waterhole. They have a passion for touch rugby and are super determined to win the upcoming tournament and the grand prize: passes to the new theme park, Extreme Water But there's a problem. The coach's nephew Kade is a spoiled brat who ruins every game with his selfish play and embarrassing tantrums.

As the boys try to figure out how they're going to win, they notice strange things going on at the local waterhole. Was that an eel wrapped...

In this bold study of cinematic depictions of violence in the south, Deborah E. Barker explores the ongoing legacy of the "southern rape complex" in American film. Taking as her starting point D. W. Griffith's infamous The Birth of a Nation, Barker demonstrates how the tropes and imagery of the southern rape complex continue to assert themselves across a multitude of genres, time periods, and stylistic modes.

Drawing from Gilles Deleuze's work on cinema, Barker examines plot, dialogue, and camera technique as she considers several films: The Story of Temple Drake (1933), Sanctuary...

Employing innovations in media studies, southern cultural studies, and approaches to the global South, this collection of essays examines aspects of the southern imaginary in American cinema and offers fresh insight into the evolving field of southern film studies.

In their introduction, Deborah Barker and Kathryn McKee argue that the southern imaginary in film is not contained by the boundaries of geography and genre; it is not an offshoot or subgenre of mainstream American film but is integral to the history and the development of American cinema.

Ranging from the silent era to the...

Employing innovations in media studies, southern cultural studies, and approaches to the global South, this collection of essays examines aspects of the southern imaginary in American cinema and offers fresh insight into the evolving field of southern film studies.

In their introduction, Deborah Barker and Kathryn McKee argue that the southern imaginary in film is not contained by the boundaries of geography and genre; it is not an offshoot or subgenre of mainstream American film but is integral to the history and the development of American cinema.

Ranging from the silent era to the...