Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.

Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.

The purpose of this study is to frame the cinematic male prostitute as a "fallen angel" to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term "fallen angel" is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included.