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The Giants Win the Series!
"The Giants Win The Series" takes the reader from Spring training to the end of the World Series with the headline stories and highlights of 1954. With over three dozen photos, including stories about Mays, Mantle, Musial, Maglie, Berra, Snider, Hodges, Williams, Doby and Kluszewski .
Fall from Pride
Return to Home Valley with book one in Karen Harper’s fan-favorite romantic suspense series Budding artist Sarah Kauffman has turned a few of her community's barns into works of art, painting intricate murals on their sides to represent a piece of the Amish traditions she loved. But she’s unwittingly invited a menace into the town, as one by one, each barn is set ablaze and destroyed… The fires spread fear through the community, and arson investigator Nate MacKenzie struggles to investigate the crime scenes while adhering to the community’s ways. As the fires rage, beliefs are challenged, a way of life is questioned and family secrets are exposed. Now Sarah wonders if she's being punished for her pridefulness…or whether there's a more malevolent will at work.
Visual Culture: What is visual culture studies?
These texts represent both the formation of visual culture, and the ways in which it has transformed, and continues to transform, our understanding and experience of the world as a visual domain.
Perverse Spectators
The thesis of this collection of a dozen essays written by Staiger (communication, U. of Texas-Austin) since Interpreting Films: Studies in the Historical Reception of American Cinema (1992) is that contextual factors more than textual ones account for viewers' "perverse" (i.e., negotiated) experience of films. The essays are organized by the themes of historical theory and reception studies, interpretation and Hollywood film history, interpretation and identity theory, and interpretation and representation of the real. Featured films are A Clockwork Orange,The Silence of the Lambs, and The Return of Martin Guerre. c. Book News Inc.
Cinema Ann Arbor
A fascinating journey into the DIY spirit of a highly influential film community
Sinister Resonance
A major new work from one of the world's most erudite, intellectual, and influential thinkers and writers about sound and music. >
USITC Publication
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Coming Back to a Theater Near You
In the Silent Era, film reissues were a battle between rival studios--every Mary Pickford new release in 1914 was met with a Pickford re-release. For 50 years after the Silent Era, reissues were a battle between the studios, who considered old movies "found money," and cinema owners, who often saw audiences reject former box office hits. In the mid-1960s, the return of The Bridge on the River Kwai (1957)--the second biggest reissue of all time--altered industry perceptions, and James Bond double features pushed the revival market to new heights. In the digital age, reissues have continued to confound the critics. This is the untold hundred-year story of how old movies saved new Hollywood. Covering the booms and busts of a recycling business that became its own industry, the author describes how the likes of Charlie Chaplin, Humphrey Bogart and Alfred Hitchcock won over new generations of audiences, and explores the lasting appeal of films like Napoleon (1927), Gone with the Wind (1939), The Rocky Horror Show (1975) and Blade Runner (1982).
The Most Typical Avant-Garde
Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films. This panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true centre of avant-garde cinema in the US.
Coming Together
In Coming Together, Ryan Powell captures the social and political vitality of the first wave of movies made by, for, and about male-desiring men in the United States between World War II and the 1980s. From the underground films of Kenneth Anger and the Gay Girls Riding Club to the gay liberation-era hardcore films and domestic dramas of Joe Gage and James Bidgood, Powell illuminates how central filmmaking and exhibition were to gay socializing and worldmaking. Unearthing scores of films and a trove of film-related ephemera, Coming Together persuasively unsettles popular histories that center Stonewall as a ground zero for gay liberation and visibility. Powell asks how this generation of movie-making—which defiantly challenged legal and cultural norms around sexuality and gender—provided, and may still provide, meaningful models for living.
