With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
So You Think You've Been Called to Be a Pastor?: Pastoring 101 is a workbook primarily written for new pastors and ministers who think they have been called to be a pastor. Yet seasoned pastors can benefit from this book as well. Someone said that 50 percent of new pastors give up after their first year. In my humblest opinion, many who feel they are called to be a pastor have never been properly mentored. They are not prepared for the various seasons that will take place within their ministry. Someone needs to tell them about pastoral fluctuations: the bitters and the sweets, the unpredictability of membership and finances, betrayals, apathy, childishness, and the perpetual delays that come with growing a church. By writing this workbook, I have officially accepted the assignment to be that someone. In this age of mega churches with multi-million dollar programs, it is easy for pastors of small churches to feel like failures; we don't measure up. This workbook provides practical information to help pastors successfully navigate through various pastoral seasons. This workbook is divided into fourteen sections. A few sections are: "What to Expect as a New Pastor," "The Danger of Being a Carbon Copy of Someone Else's Ministry," "What Do You Do When the Pews Are Not Full," and "Members Say and Do the Strangest Things." At the end of each section, there is a "Fireside Chat." Various questions will be asked, and I invite you to daily RELAX: R - Rest and renew, E - Eat healthy foods, L - Laugh a lot, A - Ask God (pray always), and X - Xercise your body and mind. There is also a space provided called "My Journal." Write whatever you want. This is a practical handbook that should be given to every new pastor.
The name of this book was derived from a college course, Systems Theory of Psychology. One of the major lessons I learned was, when people don't value you, they can make you invisible. Invisibility can be perpetuated in many different ways. To illustrate this truth, mixtures of corporate stories are shared. Identities of people and companies have been concealed. The professor who taught Systems Theory of Psychology said, "There should always be a learning process in everything we do." I asked him what I should learn from supporting an international sales force of fourteen people without appreciation and recognition. He enthusiastically responded, "You may have to learn it is time to look for another job." That psychology class became my therapy, which helped me to walk through the final days of my employment at that company and prepared me for my next chapter. Most of my thirty-seven-year corporate journey was spent in a secretarial/administrative role. Frankly, I had one of the best seats in the house. While supporting the senior leaders of companies, I learned a lot from the letters I typed, the papers I filed, the phone messages I took, the emails I read, and the conversations I overheard. Corporate America matured me and provided me with transferable skills. When I began working in corporate America, I was invisible, a shy, quiet, naive, young woman. Amazingly, I walked out a visible woman, stronger, confident, with leadership skills. Two nonprofit organizations emerged from me: a church, Cathedral of Faith International Ministries, Inc., and a personal ministry organization, Gwen Wheeler International Ministries, Inc. Additionally, after graduating from Rittners School of Floral Design in 2009, I started my floral design business, Sensational Floral Designs by Gwendolyn. May your journey through corporate America birth out of you stories that will heal, restore, and rescue others out of their invisibility. Don't give up! You are a champion, my friend. Visibility is on the horizon. Embrace it fiercely!
For Gwendolyn Wright, the houses of America are the diaries of the American people. They create a fascinating chronicle of the way we have lived, and a reflection of every political, economic, or social issue we have been concerned with. Why did plantation owners build uniform cabins for their slaves? Why were all the walls in nineteenth-century tenements painted white? Why did the parlor suddenly disappear from middle-class houses at the turn of the century? How did the federal highway system change the way millions of Americans raised their families? Building the Dream introduces the parade of people, policies, and ideologies that have shaped the course of our daily lives by shaping the rooms we have grown up in. In the row houses of colonial Philadelphia, the luxury apartments of New York City, the prefab houses of Levittown, and the public-housing towers of Chicago, Wright discovers revealing clues to our past and a new way of looking at such contemporary issues as integration, sustainable energy, the needs of the elderly, and how we define "family.
Black women filmmakers not only deserve an audience, Gwendolyn Audrey Foster asserts, but it is also imperative that their voices be heard as they struggle against Hollywood’s constructions of spectatorship, ownership, and the creative and distribution aspects of filmmaking. Foster provides a voice for Black and Asian women in the first detailed examination of the works of six contemporary Black and Asian women filmmakers. She also includes a detailed introduction and a chapter entitled "Other Voices," documenting the work of other Black and Asian filmmakers. Foster analyzes the key films of Zeinabu irene Davis, "one of a growing number of independent Black women filmmakers who are actively constructing [in the words of bell hooks] ‘an oppositional gaze’"; British filmmaker Ngozi Onwurah and Julie Dash, two filmmakers working with time and space; Pratibha Parmar, a Kenyan/Indian-born British Black filmmaker concerned with issues of representation, identity; cultural displacement, lesbianism, and racial identity; Trinh T. Minh-ha, a Vietnamese-born artist who revolutionized documentary filmmaking by displacing the "voyeuristic gaze of the ethnographic documentary filmmaker"; and Mira Nair, a Black Indian woman who concentrates on interracial identity.
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Disruptive Feminisms provides a revolutionary new approach to feminism as a disruptive force. By examining various films and filmmakers who are not so obviously read as feminist or Marxist, Gwendolyn Foster showcases their ability to disrupt and effectively challenge everything from class and racism, as well as sexism, ageism, and homophobia.
Herman loves Hound like no man should love a daughter. After years of promiscuity, Hound seeks refuge in a relationship with Charles. Following a born again experience, Hound takes several confusing paths that threaten her sanity and a reputation she worked so hard to construct. Her secret, if confessed to Charles, could destroy their future together.
From the Reliance Building and Coney Island to the Kimbell Museum and Disney Hall, the United States has been at the forefront of modern architecture. American life has generated many of the quintessential images of modern life, both generic types and particular buildings. Gwendolyn Wright’s USA is an engaging account of this evolution from the late nineteenth century to the twenty-first. Upending conventional arguments about the origin of American modern architecture, Wright shows that it was not a mere offshoot of European modernism brought across the Atlantic Ocean by émigrés but rather an exciting, distinctive and mutable hybrid. USA traces a history that spans from early skyscrapers and suburbs in the aftermath of the American Civil War up to the museums, schools and ‘green architecture’ of today. Wright takes account of diverse interests that affected design, ranging from politicians and developers to ambitious immigrants and middle-class citizens. Famous and lesser-known buildings across America come together--model dwellings for German workers in rural Massachusetts, New York’s Rockefeller Center, Cincinnati’s Carew Tower, Frank Lloyd Wright’s Taliesin West in the Arizona desert, the University of Miami campus, the Texas Instruments Semiconductor Plant, and the Corning Museum of Glass, among others--to show an extraordinary range of innovation. Ultimately, Wright reframes the history of American architecture as one of constantly evolving and volatile sensibilities, engaged with commerce, attuned to new media, exploring multiple concepts of freedom. The chapters are organized to show how changes in work life, home life and public life affected architecture--and vice versa. This book provides essential background for contemporary debates about affordable and luxury housing, avant-garde experiments, local identities, inspiring infrastructure and sustainable design. A clear, concise and richly illustrated account of modern American architecture, this timely book will be essential for all those who wonder about the remarkable legacy of American modernity in its most potent cultural expression.
Until now, there hasn't been one single-volume authoritative reference work on the history of women in film, highlighting nearly every woman filmmaker from the dawn of cinema including Alice Guy (France, 1896), Chantal Akerman (Belgium), Penny Marshall (U.S.), and Sally Potter (U.K.). Every effort has been made to include every kind of woman filmmaker: commercial and mainstream, avant-garde, and minority, and to give a complete cross-section of the work of these remarkable women. Scholars and students of film, popular culture, Women's Studies, and International Studies, as well as film buffs will learn much from this work. The Dictionary covers the careers of nearly 200 women filmmakers, giving vital statistics where available, listings of films directed by these women, and selected bibliographies for further reading. This is a one-volume, one-stop resource, a comprehensive, up-to-date guide that is absolutely essential for any course offering an overview or survey of women's cinema. It offers not only all available statistics, but critical evaluations of the filmmakers' work as well. In order to keep the length manageable, this volume focuses on women who direct fictional narrative films, with occasional forays into the area of the documentary and is limited to film production rather than video production.
The Life and Times of a Black Southern Doctor, or LATOBSD as it will be referred to from here on in this condensation, is a saga of life in the panhandle of Florida from 1896 to 1956 and a bit beyond. Doctor Alpha Omega Campbell was an actual practicing physician in and around Tallahassee between 1913 and 1956. In 1956, at the age of 67, A.O. Campbell was convicted of manslaughter in the death of a Jacksonville mother of two, after allegedly performing a criminal abortion that eventually results in her dying. On in years and eyeing semi-retirement, he is sent Floridas hardest prison for four of his remaining years. LATOBSD begins 1 years into the doctors incarceration at the time of his dear wifes funeral. Maggie Lou Campbell did not do well with her husband hundreds of miles away. She has been watching their empire of wealth and real estate crumble around her, spurred on by numerous jealous conspirators who position themselves like sharks around a school of hapless fish. It is from that point backward, I transport the reader back in time, before Maggie Lou was conceived by her multi-racial mother with the help of one of Leon Countys most respected grocers and back when Alfrey (A.O.) Campbells family was beholding to a deep-rooted plantation owner; some called it slavery in the post emancipation south. From this time forward, I undertake the task of fictionalizing a seemingly unmeasurable share of people and events. Most of this recounting of the doctors affairs is true to history, used as a guidepost for the seventy-some year story line. There are many people amongst the ensemble that closely resemble many of those that truly did exist, back when the delineation between black and white was beginning to show signs of gray. Yet as close as the Campbells pushed that line towards equality, a stronger force bludgeoned them back where they belonged. As tempting as it was to make this biographical, I could not. Case in point, the considerable liberty taken, especially as it applies to the more famous characters I have inserted in this moderately loosely-tied account of what really happened. If you think historical fiction is tough, staying true to events, multiply that by two and you have a biography; there will always be someone who says: That isnt the way it happened.. So as we traipse our way into the wonderful world of fiction. Consider this list of names and events (In order of their appearance): I. The Spanish-American War II. 25th President: William McKinley III. The Galveston Hurricane1900 IV. 26th President: Theodore Roosevelt V. George Eastman (sister Judith) VI. Suffragette: Emmeline Pankhurst VII. The San Francisco Earthquake1906 VIII. Playwright: Sir James Barrie IX. World War I X. Mary PickfordEarly Hollywood XI. The Pacific Clipper Flying BoatsPanAm XII. Roswell, New Mexico: Area 51 Whoowah Nellie. What does any of this have to do with a black Southern doctor you ask? That is what makes history fun, even if much of this stuff did not come down quite the way I write it. I promise to dedicate the 20th chapter to the process of sorting the beef from the bull; the inconsistencies you all will gladly point out while reading along as the decades peel away. The bottom line is that LATOBSD is not just about the doctor.
2003 CHOICE Outstanding Academic Title Performing Whiteness crosses the boundaries of film study to explore images of the white body in relation to recent theoretical perspectives on whiteness. Drawing on such diverse critical methodologies as postcolonial studies, feminist film criticism, anthropology, and phenomenology, Gwendolyn Audrey Foster examines a wide variety of films from early cinema to the present day in order to explore the ways in which American cinema imposes whiteness as a cultural norm, even as it exposes its inherent instability. In discussions that range from The Philadelphia Story to Attack of the 50 Foot Woman, Foster shows that, though American cinema is an all-white construct, there exists the possibility of a healthy resistance to cultural norms of race, gender, sexuality, and class.
When gold fever struck in 1849, John S. Darcy—prominent physician, general, and president of the New Jersey Railroad—assembled a company to travel overland to California. In Jersey Gold, Margaret Casterline Bowen and Gwendolyn Joslin Hiles tell the story of that colorful company of some thirty stalwarts and adventurers. Jersey Gold chronicles the experiences of the New Jersey argonauts from their lives before the gold rush to the widely varying fortunes each ultimately found. Animated by the trekkers’ own words and observations and illustrated with maps, photographs, and drawings by one of the company’s own men, Jersey Gold follows the Newark Overland Company’s journey by rail, stage, and riverboat to the Missouri frontier town of Independence, the group’s jumping-off point for the Oregon-California trail. There, the company splintered. Their divergent paths afford views of the westward journey from multiple perspectives as the companies faced the perils of the wilderness and the treachery of human nature. Once in gold country, many booked immediate passage home, but some remained with Darcy to work a successful mining operation before returning east with comfortable fortunes. A few, enchanted by the opportunities of the Golden Coast, took up permanent residence there—and in their stories we witness the emergence of California amid unprecedented lawlessness, the controversy of slavery, and diverse nationalities. The story of the Newark Overland Company—in many ways a panorama of the nineteenth century—ranges from the wildness of the frontier through the chaos of the Civil War to the throes of early industrialization, and features such notables as John Sutter, Brigham Young, and Henry Clay. In chronicling this journey, Jersey Gold vividly re-creates a defining chapter in American history.
On 24 February 2022, Russia launched a full-scale invasion of Ukraine, giving rise to the deadliest conflict on European soil since the Second World War. How could this happen in twenty-first-century Europe? Why did Putin decide to escalate Russia’s war against Ukraine, a war which began with Russia’s annexation of Crimea in 2014? In this timely book, Gwendolyn Sasse analyses the background to this war and examines the factors that led to Putin’s fateful decision. She retraces the history of Ukraine’s struggle for independence from Russia and shows how democratic developments in Ukraine had become a risk for Russia’s political system. She also shows that ambiguous Western policy towards Russia encouraged elites in the Kremlin to think that they had more room for action than they did. The result is a brilliant analysis of the background to the war, a concise account of the course of the war itself and a timely reflection on what its consequences will be – for Ukraine, for Russia and for the West. An indispensable book for anyone who wants to understand the most dangerous conflict of our time.
Troping the Body: Gender, Etiquette, and Performance is an interdisciplinary study of etiquette texts, conduct literature, and advice books and films. GwendolynAudrey Foster analyzes the work of such women authors as Emily Post, Christine de Pizan, Hannah Webster Foster, Emily Brontë, Frances E. W. Harper, and Martha Stewart as well as such women filmmakers as Lois Weber and Kasi Lemmons. "Specifically," Foster notes, "I was interested in the possibility of locating power and agency in the voices of popular etiquette writers." Her investigation led her to analyze etiquette and conduct literature from the Middle Ages to the present. Within this wide scope, she redefines the boundaries of conduct literature through a theoretical examination of the gendered body as it is positioned in conduct books, etiquette texts, poetry, fiction, and film. Drawing on Bakhtin, Gates, Foucault, and the new school of performative feminism to develop an interdisciplinary approach to conduct literature--and literature as conduct--Foster brings a unique perspective to the analysis of ways in which the body has been gendered, raced, and constructed in terms of class and sexuality. Even though women writers have been actively writing conduct and etiquette texts since the medieval period, few critical examinations of such literature exist in the fields of cultural studies and literary criticism. Thus, Foster's study fills a gap and does so uniquely in the existing literature. In examining these voices of authority over the body, Foster identifies the dialogic in the texts of this discipline that both supports and disrupts the hegemonic discourse of a gendered social order.
This book presents the mechanics of implementing visuality on the value-add level known as Work That Makes Sense (WTMS). The step-by-step WTMS process described in this book teaches operators a proven method for translating information deficits into visual solutions that take the struggle out of their day-to-day work. As a result, operators transform their work area into a work environment that speaks—a work environment that, by design, shares vital information in the form of visual devices that help them perform their day-to-day work with precision and completeness. At the heart of this visual conversion approach is an element unique to Galsworth’s paradigm called I-driven that recognizes that operators will pursue self-leadership in the company’s improvement initiatives if they are given the opportunity to learn how to do so. Also recognized is the fact that this can only happen if associates are taught—and given the opportunity to learn and apply a new system of thinking. The author calls this new system visual thinking. This book provides that learning pathway, in detail, supported by hundreds of actual visual solutions, developed by operators who have followed that pathway and become visual thinkers for themselves—I-driven. They become self-leaders, in control of their corner of the world and able and willing to share their strengths with others. In this way, the WTMS process produces a deep and abiding change in the company’s work culture that builds creativity and ownership. As a result, the organization’s leadership framework widens to include operators. When effectively applied the WTMS process detailed in this book produces 15% to 30% improvement in local KPIs, including productivity, on-time delivery, quality, and costs; these figures are documented and presented in the pages of this book. Written for operators, this book includes a wealth of color photographs, the majority of which are visual solutions created by visual thinkers who have lived this process for themselves. All are fully captioned and thoughtfully described. The book also includes twelve tasks that managers implement in support that they seek on the operator level. WTMS teaches that visual devices translate information into exact behavior, embedding and sustaining precision through visual solutions. Precision is built in by the same operators who execute it. This is the heart of an I-driven visual enterprise. Once learned and operationalized, this paradigm allows the organization to take on any new improvement effort. Organizational alignment and teamwork have been redefined and operationalized.
The book explores the life and politics of Patsy Takemoto Mink (1927-2002), a third generation Japanese American from Hawai'i, the first woman of color in Congress and the legislative champion of Title IX. Co-authored by her daughter, political scientist Gwendolyn Mink, and historian Judy Tzu-Chun Wu, this work discusses Mink's decades-long work for women's equality, civil rights, environmental humanism, and peace. The book considers Mink's policy and political commitments and contributions and explores how Mink's Pacific World view shaped her politics as a feminist, a civil rights advocate, an environmentalist, and a critic of U.S. militarism. From the late 19th century immigration story of Mink's forbears through Mink's early 21st century advocacy for social justice, this book offers new insights regarding intersectional legislative feminism and Pacific feminism, makes visible one woman's policy activism in the mainstream of U.S. politics, and brings much needed attention to a woman of color who profoundly shaped the politics of race, class, and gender in the second half of the 20th century"--
The history of international cinema is now available in a concise, conveniently sized, and affordable volume. Succinct yet comprehensive, A Short History of Film provides an accessible overview of the major movements, directors, studios, and genres from the 1880s to the present. More than 250 rare stills and illustrations accompany the text, bringing readers face to face with many of the key players and films that have marked the industry. Beginning with precursors of what we call moving pictures, Wheeler Winston Dixon and Gwendolyn Audrey Foster lead a fast-paced tour through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer generated imagery of the present day. They detail significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s. Special attention is also given to small independent efforts in developing nations and the corresponding more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, censorship and regulation and how they have affected production everywhere, and a wide range of studios and genres. Along the way, the authors take great care to incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts. Compact and easily readable, this is the best one-stop source for the history of world film available to students, teachers, and general audiences alike.
Awesome. That's a word for great movies, fun nights out, or good-looking celebrities. But do you believe it describes you? Probably not. You may dislike the way you look, or wish you had more things, or wonder if anybody likes you. Yet God says you're uniquely awesome. He loves you just as you are, and more than you think. That sounds good, but can you actually believe it? If you want to, this book will help. It asks questions like "Who am I?" and "Why am I here?" and "How do I get over my past?" And it offers answers that make sense. So if you want to believe in yourself the way God does, start reading. You'll discover how wonderful you are -- and how awesome your life can be. Book jacket.
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