Barry Grant Marsh, who was a third-generation Jehovah’s Witness, seeks to help others struggling to leave behind the Watchtower Bible and Tract Society dogma in this memoir that looks at Jesus Christ in a new light. He reveals the powerful training methods employed by Jehovah’s Witnesses to manipulate and control their followers—as well as steps you can take as a Christian that will protect you from falling victim to this cult. Moreover, he provides tips on reaching out to loved ones who are members and advice on responding to Witnesses who knock on your door. Marsh also shares details from his own journey of finding Jesus, which took more than thirty years and was dominated by his dedication to an organization that brought him difficulty, disillusion, and disappointment. In the end, he realized that the Holy Spirit was there to lead him through it all. Join Marsh on a compelling and heartfelt journey toward biblical truth, and start your own walk toward Christ with this incredible story.
Barry Grant Marsh, who was a third-generation Jehovah's Witness, seeks to help others struggling to leave behind the Watchtower Bible and Tract Society dogma in this memoir that looks at Jesus Christ in a new light. He reveals the powerful training methods employed by Jehovah's Witnesses to manipulate and control their followers--as well as steps you can take as a Christian that will protect you from falling victim to this cult. Moreover, he provides tips on reaching out to loved ones who are members and advice on responding to Witnesses who knock on your door. Marsh also shares details from his own journey of finding Jesus, which took more than thirty years and was dominated by his dedication to an organization that brought him difficulty, disillusion, and disappointment. In the end, he realized that the Holy Spirit was there to lead him through it all. Join Marsh on a compelling and heartfelt journey toward biblical truth, and start your own walk toward Christ with this incredible story.
Fascinating overview and analysis of Rod Serling’s original The Twilight Zone. CBS’s The Twilight Zone (1959–1964) remains a benchmark of serious telefantasy and one of the most iconic series in the history of American television. Barry Keith Grant carefully situates The Twilight Zone within the history of broadcast television and American culture, both of which were changing dramatically during the five seasons the series originally aired. At the same time, the genres of science fiction, horror, and fantasy were moving from marginal to mainstream, a cultural shift that The Twilight Zone was both part of and largely responsible for. Grant begins by considering The Twilight Zone’s use of genre conventions and iconography to craft its pithy parables. The show shared visual shorthand that addressed both older audiences familiar with Hollywood movies but unfamiliar with fantasy and science fiction as well as younger audiences more attuned to these genres. Rod Serling looms large in the book as the main creative force of The Twilight Zone, and Grant explains how he provided the show’s artistic vision and its place within the various traditions of the fantastic. Tracing motifs and themes in numerous episodes, Grant demonstrates how The Twilight Zone functioned as an ideal example of collective authorship that powerfully expressed both timeless terrors and the anxieties of the age, such as the Cold War, in thought-provoking fantasy. Grant argues that the imaginary worlds offered by the show ultimately endorse the Americanism it simultaneously critiques. The striking blending of the fantastic and the familiar that Grant identifies in The Twilight Zone reflected Serling’s goal of offering serious stories in a genre that had previously been targeted only to juvenile television audiences. Longtime fans of the show and new viewers of Jordan Peele’s 2019 reboot alike will enjoy this deep dive into the original series’ history, style, and significance.
This is a concise evaluation of film genre, discussing genre theory and sample analyses of the western, science fiction, the musical, horror, comedy, and the thriller. It introduces the topic in an accessible way and includes sections on the principles of studying and understanding "the idea of genre"; genre and popular culture; the narrative and stylistic conventions of specific genres; the relations of genres to culture and history, race, gender, sexuality, class and national identity; and the complex relations between genre and authorship. Case studies include: 42nd Street, Pennies from Heaven, Red River, All That Heaven Allows, Night of the Living Dead, Die Hard, Little Big Man, Blue Steel, and Posse.
This revealing history of the American film musical synthesizes the critical literature on the genre and provides a series of close analytical readings of iconic musical films, focusing on their cultural relationship to other aspects of American popular music. Offers a depth of scholarship that will appeal to students and scholars Leads a crucial analysis of the cultural context of musicals, particularly the influence of popular music on the genre Delves into critical issues behind these films such as race, gender, ideology, and authorship Features close readings of canonical and neglected film musicals from the 1930s to the present including: Top Hat, Singin' in the Rain, Woodstock, Gimme Shelter, West Side Story, and Across the Universe
Monster Cinema introduces readers to a vast menagerie of movie monsters, from gigantic beasts to microscopic parasites, from grotesque demons to normal-looking serial killers. Film expert Barry Keith Grant considers what each type of movie monster might reveal about how we regard the natural, the supernatural, and the human.
Upon its release in 1956, Don Siegel's Invasion of the Body Snatchers was widely perceived as another 'B' movie thriller in the cycle of science fiction and horror films that proliferated in the 1950s. Yet the film addresses numerous issues brewing in post-war US society, including the Cold War, McCarthyism and the changing dynamics of gender relations. In the fifty years since the film's release, its reputation has grown from cult status to become an acknowledged classic of American cinema. With its narrative of emotionless alien duplicates replacing average folk, Invasion of the Body Snatchers was the first post-war horror film to locate the monstrous in the everyday, thus marking it as a pivotal moment in American horror film history four years before Psycho. In this first comprehensive critical study of the film, Barry Keith Grant traces Invasion's historical and generic contexts to explore the importance of Communism and conformity, post-war modernity and gender politics in order to understand the film's cultural significance and metaphorical weight. He also provides an account of the film's fraught production history and offers an extended discussion of the distinctive contributions of the production personnel. Concluding with a consideration of the three remakes it has inspired, Grant illustrates how Invasion of the Body Snatchers' enduring popularity derives from its central metaphor for the monstrous, which has proven as flexible as that of the vampire and the zombie.
A scientist who tortures apes in a mountain lab. A corpse in a locked study. A super-hacker called Black Swann. These send Sherlock Holmes from Switzerland to the English countryside – plunging him into an Orwellian world where tabloids, government and police have made a devil’s pact to hack the private lives of citizens. With animal and human rights threatened, Holmes moves to end the mad experiments of Professor Droon, find what killed Sylvia Swann, and save Inspector Lestrade from corrupt superiors. Quick and quirky as ever, Sherlock is fully recovered from the icy journey that carried him from 1914 to the present day. And in this fourth adventure he proves yet again the superiority of mind over megabytes.
Frederick Wiseman is America’s foremost chronicler of public institutions. His films have focused on city, state, and local governments; hospitals; asylums; creative organizations and museums; schools; libraries; and more. In recent years, Wiseman’s work has reached a new level of popularity, with films such as In Jackson Heights (2015), Monrovia, Indiana (2018), and City Hall (2020) all earning widespread acclaim. Voyages of Discovery is the definitive account of Wiseman’s career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian’s works since the 1990s, discussing every film in Wiseman’s remarkable sixty-year career. He examines the core concerns running across Wiseman’s work from the early films, which focus on documenting institutional failure, through an expanding interest in cultural institutions and ideology, to a blossoming embrace of democracy in later films. He pays particular attention to Wiseman’s strategies for involving and implicating the spectator in the institutional processes the films document. Grant also places Wiseman within the history of the documentary and other traditions of American art and considers the relationship between documentary film and authorship. Voyages of Discovery is an important book for anyone interested in Wiseman’s work or how documentary film can reveal the fabric of our shared civic life.
The original super-sleuth, Sherlock Holmes, is back on the case Having emerged from a Swiss glacier and solved his first murder case in more than ninety-five years, the world’s most famous detective now sleuths through modern London seeking a stolen letter purportedly written by Shakespeare. But as Holmes and his roommate, James Wilson, track the letter and its terrorist dealers to a Scottish castle, where a myriad of surprises await, Holmes fears that his ‘resuscitation’ process may be flawed, and his mind disintegrating . . .
Listen closely. Is that thunder? Or voices? Or the opening chords for the end of worlds? The monsters are coming. A special free preview edition of the new graphic novel. From the minds of acclaimed filmmaker, Barry Sonnenfeld (director of the, Men In Black films) and superstar graphic novel creator, Grant Morrison (Batman, The Invisibles, Action Comics, 18 Days), comes Dinosaurs Vs. Aliens, from Liquid Comics. The story focuses on a secret world war battle that was never recorded in our history books. When an alien invasion attacks Earth in the age of the dinosaurs, our planet's only saviors are the savage prehistoric beasts which are much more intelligent than humanity has ever imagined.
Documentary films constitute a major part of film history. Cinema's origins lie, arguably, more in non-fiction than fiction, and documentary represents the other - often submerged and barely visible - 'half' of cinema history. Historically, documentary cinema has always been an important point of reference for fiction cinema, and the two have often overlapped. Over the last two decades, documentary cinema has enjoyed a revival in critical and commercial success. 100 Documentary Films is the first book to offer concise and authoritative individual critical commentaries on some of the key documentary films - from the Lumière brothers and the beginnings of cinema through to recent films such as Bowling for Columbine and When the Levees Broke - and is global in perspective. Many different types of documentary are discussed, as well as films by major documentary directors, including Robert Flaherty, Humphrey Jennings, Jean Rouch, Dziga Vertov, Errol Morris, Nick Broomfield and Michael Moore. Each entry provides concise critical analysis, while frequent cross reference to other films featured helps to place films in their historical and aesthetic contexts. Barry Keith Grant is Professor of Film Studies and Popular Culture at Brock University, Ontario, Canada. He is the author of Film Genre: From Iconography to Ideology (2007), Voyages of Discovery: The Cinema of Frederick Wiseman (1992) and co-author, with Steve Blandford and Jim Hillier, of The Film Studies Dictionary (2001). Jim Hillier is Visiting Lecturer in Film at the University of Reading. He is the author of The New Hollywood (1993), the co-author of The Film Studies Dictionary (2001) and, with Alan Lovell, of Studies in Documentary (1972). His edited books include American Independent Cinema (2001) and two volumes of the English translation of the selected Cahiers du cinema (1985, 1986).
The original super-sleuth, Sherlock Holmes, is back on the case - When James Wilson retires from journalism, he decides to settle down in Herefordshire with a room-mate, a Mr Cedric Coombes, and at first thinks little of his new friend’s eccentric behaviour. But he can’t shake the feeling that he knows him from somewhere else. As Coombes displays his magnificent deductive prowess, and becomes embroiled in the police investigation of the apparent murder of a man in bathtub, Wilson, or should we say Watson, begins to wonder just who this Coombes really is . . .
This Broadway hit is based on the Amphitryon myth. Jupiter comes to Earth in human form to woo beautiful Alcemene, wife of Amphitryon. He appears to her in the body of her absent husband and quickly wins her love. Things go swimmingly until the real Amphitryon shows up. The chorus consists of Tom, Dick, Horace and the delightfully dizzy Dolores (who is only in the show because she is the wife of its financial backer.) -- Publisher's description.
Covering Niagara: Studies in Local Popular Culture closely examines some of the myriad forms of popular culture in the Niagara region of Canada. Essays consider common assumptions and definitions of what popular culture is and seek to determine whether broad theories of popular culture can explain or make sense of localized instances of popular culture and the cultural experiences of people in their daily lives. Among the many topics covered are local bicycle parades and war memorials, cooking and wine culture, radio and movie-going, music stores and music scenes, tourist sites, and blackface minstrel shows. The authors approach their subjects from a variety of critical and historical perspectives and employ a range of methodologies that includes cultural studies, textual analysis, archival research, and participant interviews. Altogether, Covering Niagara provides a richly diverse mapping of the popular culture of a particular area of Canada and demonstrates the complexities of everyday culture.
The original super-sleuth, Sherlock Holmes, is back on the case - A corpse in a sarcophagus, a headless macaw, and a stolen slice of Black Forest gateau alert Sherlock Holmes to a macabre international crime in progress, and lead him through London’s backstreets to the gloomy moors of Cornwall. People vanish, Greek statues vanish. Even Holmes vanishes – to the distress of his companion, James Wilson, whose emails and text messages go unanswered. But Holmes is in top form, fully recovered from his journey through ice to the twenty-first century and ready to reveal a multitude of secrets . . .
New York, more than any other city, has held a special fascination for filmmakers and viewers. In every decade of Hollywood filmmaking, artists of the screen have fixated upon this fascinating place for its tensions and promises, dazzling illumination and fearsome darkness. The glittering skyscrapers of such films as On the Town have shadowed the characteristic seedy streets in which desperate, passionate stories have played out-as in Scandal Sheet and The Pawnbroker. In other films, the city is a cauldron of bright lights, technology, empire, egotism, fear, hunger, and change--the scenic epitome of America in the modern age. From Street Scene and Breakfast at Tiffany's to Rosemary's Baby, The Warriors, and 25th Hour, the sixteen essays in this book explore the cinematic representation of New York as a city of experience, as a locus of ideographic characters and spaces, as a city of moves and traps, and as a site of allurement and danger. Contributors consider the work of Woody Allen, Blake Edwards, Alfred Hitchcock, Gregory La Cava, Spike Lee, Sidney Lumet, Vincente Minnelli, Roman Polanski, Martin Scorsese, Andy Warhol, and numerous others.
Ceramic Materials: Science and Engineering is an up-to-date treatment of ceramic science, engineering, and applications in a single, comprehensive text. Building on a foundation of crystal structures, phase equilibria, defects, and the mechanical properties of ceramic materials, students are shown how these materials are processed for a wide diversity of applications in today's society. Concepts such as how and why ions move, how ceramics interact with light and magnetic fields, and how they respond to temperature changes are discussed in the context of their applications. References to the art and history of ceramics are included throughout the text, and a chapter is devoted to ceramics as gemstones. This course-tested text now includes expanded chapters on the role of ceramics in industry and their impact on the environment as well as a chapter devoted to applications of ceramic materials in clean energy technologies. Also new are expanded sets of text-specific homework problems and other resources for instructors. The revised and updated Second Edition is further enhanced with color illustrations throughout the text.
Contents: (1) Intro.; (2) OVW Grant Programs; (3) The VAWA Measuring Effectiveness Initiative; (4) Effectiveness of OVW Grant Programs; (5) Grant Programs: Encourage Arrest Policies and Enforcement of Protection Orders; Rural Domestic Violence and Child Victimization Enforce.; Legal Assistance for Victims; Reduce Violent Crimes Against Women on Campus; STOP Violence Against Indian Women; Educ. and Technical Assistance to End Violence Against Women with Disabilities; Stop Abuse and Sexual Assault Against Older Individuals or Individuals with Disabilities; Support Tribal Domestic Violence and Sexual Assault Coalitions; State Sexual Assault and Domestic Violence Coalitions; Safe Havens: Supervised Visitation Program. Illus.
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