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Chapter 4 of the book "Watching Daytime Soap Operas: The Power of Pleasure," by Louise Spence. It offers information how the understanding of the television soap operas work in women's lives. It explores on the interviews done by the author to several women who watched soap operas, discussing the therapeutic effects of these programs to them.

Chapter 3 of the book "Watching Daytime Soap Operas: The Power of Pleasure," by Louise Spence. It offers information on the definition and implication of watching soap operas to those who watches them. It elaborates on the author's own experience in evaluating and watching these operas along with the various commercial and public service messages in between the show.

Chapter 2 of the book "Watching Daytime Soap Operas: The Power of Pleasure," by Louise Spence. It offers information on the ways of studying soap operas. It elaborates on the different conceptualizations of the audiences in watching soap operas. It offers information on the effects of these soap operas to the lives of those who watches it.

Chapter 1 of the book "Watching Daytime Soap Operas: The Power of Pleasure," by Louise Spence. It explores on the academic studies that tackles on the effects of regular soap opera to the conduct of life of women as well as the innocent children. It elaborates on the reasons why many women like watching soap operas.

The article presents an epilogue to the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience." Reasons why there was a slump in Race films in the beginning of 1925 are presented. It points that theater owners want them as cheap as a regular production of a white corporation and they knew it was impossible. An overview of the difficulties encountered by silent films particularly with the increased commercialization and developments in technology and how Oscar Micheaux has adjusted is presented.

Chapter 6 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. It examines Oscar Micheaux's "Body and Soul" and the dilemma he faced in representing the colored Race in films. Opinions from different groups and different audience members regarding the film are presented. It mentions that one commented that only a depiction of a socially acceptable moral order would be congenial to a positive racial identity. It points that his film was an affirmation of identity not trapped in the affirmative.

Chapter 5 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. It examines the works of Oscar Micheaux including his fourth film, "The Symbol of the Unconquerred," "A Stirring Tale of Love and Adventure in the Great Northwest." Representing sociological and moral forces rather than psychologicaly indivituated people, many of his characters function as models to illustrate what could be accomplished through hard work and industry, it notes.

Chapter 4 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. It examines the artistic and social significance of Oscar Micheaux's works including "The Homesteader" and "Within Our Gates." In "The Homesteader," Micheaux made use of the climate of optimism and Race pride surrounding the homecoming of the victorious Eighth Regiment. As an expression of creative power, "Within Our Gates" is an important resistance to a system that would prefer opposition to the voiceless, it adds.

Chapter 3 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. Discourses surrounding the production and exhibition of early African American films are presented. An overview of the Race pictures produced during Micheaux's era is given. It mentions that Oscar Micheaux's candor about oppression and wrongdoing was rare in early Race pictures and more usual were self-congratulatory movies testifying to racial progress.

Chapter 2 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. It looks at the context of Oscar Micheaux's early filmmaking practice and concentrates on factors that made Race pictures possible. These factors include the Black communities and their values, the Race theaters where African Americans came together to see images of themselves and their community and the Black press that informed their viewing experience.

Chapter 1 of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" is presented. It presents an overview of the life and works of Oscar Micheaux, a former railway employee and a Black man, who was a resident, pioneer and landowner in Gregory County, South Dakota. It mentions that as a pioneer of homestead in the Indian reservation, he lost most of his land to foreclosure but the experience has driven him to writing and even producing films.

A preface for the book "Writing Himself into History" is presented.

People that the author would like to thank for their assistance in the creation of the book "Writing Himself Into History: Oscar Micheaux, His Silent Films & His Audience" are mentioned.