Allison Moore - Böcker

Comedy Characters: 2 males, 4 females When she's cast as the "last girl" in a low-budget slasher flick, Sheena thinks it's the big break she's been waiting for. But news of the movie unleashes her malingering mother's thwarted feminist rage, and Mom is prepared to do anything to stop filming...even if it kills her. The hilarious hit of 2009's Humana Festival of New American Plays at the Actors Theater of Louisville. "Screaming. Blood. Impalements. Meat hooks. Electric drills. Objectified sexy women. Crazy mother in wheelchair. Whaddya expect? It's a slasher movie." -Philadelphia Inquirer "...Slasher elicits laughs by intentionally indulging in everything that makes horror films atrociously unentertaining." -Broad Street Review

In Collapse Hannah tries desperately to hold the facade of her perfect life together even as her husband David mysteriously calls in sick to work. Day after day they struggle with infertility and Hannah herself is on the verge of being laid off. When Hannah's sister appears on their doorstep she brings with her a renegade attitude and an illicit package that send David and Hannah on a 12-hour odyssey into the heart of their deepest fears. Will they survive? Will their relationship

This book explores how children engage with sex and sexuality. Building on a conceptual and legal grounding in sexuality studies and the new sociology of childhood, the authors debate the age of consent, teenage pregnany, sexual diversity, sexualisation, sex education and sexual literacy, paedophilia, and sex in the digital age.

In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou KeÏta and Malick SidibÉ became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s-when photography first arrived as an apparatus of French colonialism-to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa's most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of KeÏta and SidibÉ, the biennale's structure, the rise of women photographers, cultural preservation through photography, and how Mali's shift to democracy in the early 1990s enabled Bamako's art scene to flourish. Moore shows how Malian photographers' focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant's notion of “relation” in ways that spark new artistic forms, practices, and communities.