Equity, diversity, and social justice are the values to which global democracies aspire. These elements have strong implications for our children and their schools. They are truly timely issues for all educators. The experiences of the author as a teacher, mother, and immigrant are woven throughout the text. This work is a compilation of essays that address the issues of schooling in relationship to diversity and literacy in pluralistic democracies. The essays offer theoretical perspectives, suggestions for practice, and useful resources to ensure an equitable education for all children. This book encourages educators to reflect on their role as agents of change in schools, and advocates of social justice.
Soon after film came into existence, the term epic was used to describe productions that were lengthy, spectacular, live with action, and often filmed in exotic locales with large casts and staggering budgets. The effort and extravagance needed to mount an epic film paid off handsomely at the box office, for the genre became an immediate favorite with audiences. Epic films survived the tribulations of two world wars and the Depression and have retained the basic characteristics of size and glamour for more than a hundred years. Length was, and still is, one of the traits of the epic, though monolithic three- to four-hour spectacles like Gone with the Wind (1939) and Lawrence of Arabia (1962) have been replaced today by such franchises as the Harry Potter films and the Lord of the Rings trilogy. Although the form has evolved during many decades of existence, its central elements have been retained, refined, and modernized to suit the tastes of every new generation. The Encyclopedia of Epic Films identifies, describes, and analyzes those films that meet the criteria of the epic—sweeping drama, panoramic landscapes, lengthy adventure sequences, and, in many cases, casts of thousands. This volume looks at the wide variety of epics produced over the last century—from the silent spectacles of D. W. Griffith and biblical melodramas of Cecil B. DeMille to the historical dramas of David Lean and rollercoaster thrillers of Steven Spielberg. Each entry contains: Major personnel behind the camera, including directors and screenwriters Cast and character listings Plot summary Analysis Academy Award wins and nominations DVD and Blu-ray availability Resources for further study This volume also includes appendixes of foreign epics, superhero spectaculars, and epics produced for television, along with a list of all the directors in the book. Despite a lack of overall critical recognition and respect as a genre, the epic remains a favorite of audiences, and this book pays homage to a form of mass entertainment that continues to fill movie theaters. The Encyclopedia of Epic Films will be of interest to academics and scholars, as well as any fan of films made on a grand scale.
While the military use of drones has been the subject of much scrutiny, the use of drones for humanitarian purposes has so far received little attention. As the starting point for this study, it is argued that the prospect of using drones for humanitarian and other life-saving activities has produced an alternative discourse on drones, dedicated to developing and publicizing the endless possibilities that drones have for "doing good". Furthermore, it is suggested that the Good Drone narrative has been appropriated back into the drone warfare discourse, as a strategy to make war "more human". This book explores the role of the Good Drone as an organizing narrative for political projects, technology development and humanitarian action. Its contribution to the debate is to take stock of the multiple logics and rationales according to which drones are "good", with a primary objective to initiate a critical conversation about the political currency of "good". This study recognizes the many possibilities for the use of drones and takes these possibilities seriously by critically examining the difference the drones' functionalities can make, but also what difference the presence of drones themselves – as unmanned and flying objects – make. Discussed and analysed are the implications for the drone industry, user communities, and the areas of crisis where drones are deployed.
This book of drawings and watercolours is devoted to my impressions of the majestic beauties or 'icons' of the continent, but also aims to present my observations about the 'small Australia' of ordinary buildings and landscape; the general stores, the post offices, the railway stations, the old hotels, the tea rooms, the corrugated iron sheds, the empty shops, the disused mines and the classical colonial town halls reminiscent of the old and far away Europe. I wanted to show places like Dimbullah and Norseman that are unknown to outsiders but are just as interesting in their own ways as Sydney Harbour and Uluru.
Tough Enough By: Maria Rose Born in a Vietnamese prison, the son of a prostitute and an American soldier, Asa Greyeyes suffers through the most difficult of beginnings. From the start, he must fight to better his life, to survive. Tough Enough follows Asa’s single-minded efforts to protect his “mother” Emma and earn their freedom and a peaceful, comfortable life. On their journey from Vietnam to America to New Mexico to that life, they tangle with fight promoters, crime lords, soldiers, gun runners, and drug smugglers, but even a few of those have compassion and offer help. Asa is repeatedly faced with choices between right and wrong, but having studied the Bible with Emma while in prison, he has a firm understanding of what is it to be a good man, to be fair. Asa Greyeyes is clever, loyal, caring, and determined, but is he tough enough to earn the life he wants for him and Emma after so many years of not really knowing where he belongs? Any incidents in this book related to recent current events is purely coincidental.
In the fifth Catering Hall Mystery by Agatha Award-winning author Maria DiRico, series sleuth Mia Carina has finally steered her Italian-American family’s catering hall, Belle View Banquet Manor, into becoming the premiere party site of Astoria, Queens. Now if only her presumed dead ex-husband would get out of the way... A strong, independent woman and respected entrepreneur, Mia never imagined she’d pine for a marriage proposal. Yet lately, with her beloved Shane, she’s on tenterhooks. It’s especially surprising, considering Mia’s first husband, Adam, was a philandering grifter, assumed lost-at-sea after a boating disaster. But everyone knows what happens when you assume . . . While working a huge wedding expo in Manhattan, Mia is shocked to spot the man who nearly destroyed her life. The one who’s supposed to be sleeping with the fishes. But she loses him in the crowd. And when it happens again the next day, it’s time for an emergency meeting with the family—and the Family. Because if Adam is alive, Mia is still married . . . Everyone wants Adam dead. Everyone except Mia. She’s dealt with enough police for a lifetime. Mia needs to be a divorcée, not a widow. But someone out there disagrees, and if Mia doesn’t discover who, she may never be free to marry Shane—or anyone else . . .
Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American films, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W. E. B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance.
Walt Whitman once wrote: Oh me! Oh life! of the questions of these recurring, Of the endless trains of the faithless, of cities filled with the foolish, Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?) Of eyes that vainly crave the light, of the objects mean, of the struggle ever renewed, Of the poor results of all, of the plodding and sordid crowds I see around me, Of the empty and useless years of the rest, with the rest me intertwined, The question, O me! so sad, recurring – What good amid these, O me, O life? Answer. That you are here – that life exists and identity, That the powerful play goes on, and you may contribute a verse. This book is my verse. And hopefully Chapter 1 of it. What is yours?
One of the best books about the immigrant experience in America....unique and gracefully written."—San Francisco Chronicle Maria Laurino sifts through the stereotypes bedeviling Italian Americans to deliver a penetrating and hilarious examination of third-generation ethnic identity. With "intelligence and honesty" (Arizona Republic), she writes about guidos, bimbettes, and mammoni (mama's boys in Italy); examines the clashing aesthetics of Giorgio Armani and Gianni Versace; and unravels the etymology of southern Italian dialect words like gavone and bubidabetz. According to Frances Mayes, she navigates the conflicting forces of ethnicity "with humor and wisdom.
I am thrilled to introduce my comprehensive guide, “Screenwriting Made Easy: A Step-by-Step Guide to Writing Your First Screenplay”. With my extensive experience in script coverage, analyzing over 388 scripts for filmmakers and film students, and my contribution as a ghostwriter for numerous short and feature films, I am certain that this book will prove to be an invaluable resource for aspiring screenwriters. In this book, I provide a detailed explanation of the screenwriting process, breaking it down into specific points and delving deeper into each step. This approach is part of my pedagogical method in accelerated learning practices in educational systems, designed to facilitate fast and effective learning. If you ever find yourself feeling overwhelmed or frustrated, I encourage you to take a break, relax, and return to the book when you are ready to continue reading. As an experienced screenwriter, I offer practical advice and detailed instruction to help readers gain the skills and confidence needed to write a successful screenplay and navigate the complex entertainment industry. I understand that the world of screenwriting can be daunting, but I believe that with the right tools and insights, anyone can craft compelling stories that capture the attention of audiences and industry professionals alike. Throughout the book, I share my tried and true strategies to help aspiring screenwriters get their foot in the door and provide examples of screenwriting across various genres. I firmly believe that screenplay writing doesn’t have to be complicated, and I offer strategies for making your screenplay viable for production. Whether you’re a first-time screenwriter or looking to refine your skills, my book is an invaluable resource for anyone interested in pursuing a career in screenwriting. I invite you to explore the world of screenwriting and to use this book as your guide on your journey towards success.
Updated and expanded for a new edition, this is the perfect starter text for students of film studies. Packed full of visual examples from all periods of film history up to the present, Film:A Critical Introduction illustrates film concepts in context and in depth, addressing techniques and terminology used in film production and criticism, and emphasising thinking and writing critically and effectively. With reference to 450 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media. New features in the fourth edition: Expanded discussion of changing cultural and political contexts for film and media industries, including #MeToo, #TimesUp, and #OscarsSoWhite Updated examples drawing from both contemporary and classic films in every chapter highlight that film studies is a vibrant and growing field New closing chapter expands the book's theoretical framework, linking foundational concepts in cinema studies to innovative new scholarship in media and screen studies Thoroughly revised and updated discussions of auteur theory, the long-take aesthetic, ideology in the superhero film and more
Illuminates tensions and transformations in today's Germany by examining literary, filmic, and musical treatments of the ghetto metaphor. Accounts of how Germany has changed since unification often portray the Berlin Republic as a new Germany that has left the Nazi past and Cold War division behind and entered the new millennium as a peaceful, worldly, and cautiously proud nation. Closer inspection, however, reveals tensions between such views and the realities of a country that continues to struggle with racism, provincialism, and fear of the perceived Other. Mainstream media foster such fears by describing violence in ghetto schools, failed integration, and the loss of society's core values. The city emerges as a key site not only of ethnic and political tension but of social change. Maria Stehle illuminates these tensions and transformations by following the metaphor of the ghetto in literary works from the 1990s by Feridun Zaimoglu, in German ghettocentric films from the late 1990s and the early twenty-first century, and in hip-hop and rap music of the same periods. In their representations of ghettos, authors, filmmakers, musicians, and performers redefine and challenge provincialism and nationalism and employ transcultural frameworks for their diverging political agendas. By contextualizing these discussions within social and political developments, this study illuminates the complexities that define Germany today for scholars and students across the disciplines of German, European, cultural, urban, and media studies. Maria Stehle is Assistant Professor of German at the University of Tennessee, Knoxville.
Ten Myths about the Jews analyzes the complex facets of anti-Semitism and anti-Judaism in an accessible and easy-to-read format. Based on wide research, Brazilian historian Maria Luiza Tucci Carneiro examines different manifestations against Jews and their faith through history and political culture along the centuries. Ten omnipresent accusations were configured by anti-Semites in axioms that became myths: Myth 1: The Jews killed Christ. Myth 2: The Jews are a secret entity. Myth 3: The Jews control the world economy. Myth 4: There are no poor Jews. Myth 5: The Jews are greedy. Myth 6: The Jews have no homeland. Myth 7: The Jews are racists. Myth 8: The Jews are parasites. Myth 9: The Jews control the media. Myth 10: The Jews manipulate the United States. Tucci Carneiro unmasks the roots of anti-Semitism and exposes contemporary prejudices. Her book is an invitation to reflect upon current realities marked by racism and shows how the main myths about the Jews have been vested of a verisimilitude that has persisted for the last 2000 years, all over the world, by means of hatred of the other, political/religious opportunism and economic deceit. The myths are kept alive by means of constant repetition and re-elaboration of a particular narrative, invariably seductive. The author proves each of the ten myths in terms of their historical record, their origins and purposes. Even though Jews are fully integrated into western society in multiple ways (entrepreneurship, medicine, literature, philosophy, the arts), racist myths against the community have been particularly resilient; they attempt to override common sense and their continuous circulation and rehashing through scapegoating and caricature has had profound negative repercussions for society as a whole. Ten Myths, now published in five languages, is an essential tool in the struggle against the discourse of racist hatred.
In this book, I provided a comprehensive guide to film investment, including the history of film investment in Europe and North America, the structure of the film industry, current trends, and the art of investing in film. I covered the various types of investments, such as equity investments, debt investments, gap financing, and tax incentives, and explained the risks and rewards of film investing along with case studies. I have also discussed building a film investment portfolio, due diligence, working with producers, agents, managers and talents, evaluating film projects, negotiating deals, legal considerations, distribution and marketing, and the international market. Additionally, I included case studies of successful and failed investments, as well as real estate and crowdfunding options for film investment. Finally, I concluded with a discussion of the future of the film industry and the role of investors in shaping up the movie industry. I wrote this book out of my deep passion for the film industry and a desire to share my knowledge and experience as a film investor and filmmaker with aspiring investors in this field. My ultimate goal is to inspire and motivate readers to pursue their passion and make a positive impact in the film industry. In addition, I aim to challenge prevalent myths and misconceptions that surround film investment and encourage critical thinking among my audience and readers. I also wrote this book with investors, filmmakers, and academics in mind, as there is currently a lack of practical literature on film investment for higher education. The existing books on the market are outdated and do not provide relevant information for today's industry.
Violet Parry is living the quintessential life of luxury in the Hollywood Hills with David, her rock-and-roll manager husband, and her darling toddler, Dot. She has the perfect life -- except that she's deeply unhappy. David expects the world of Violet but gives little of himself in return. When she meets Teddy, a roguish small-time bass player, Violet comes alive, and soon she's risking everything for the chance to find herself again. Also in the picture are David's hilariously high-strung sister, Sally, on the prowl for a successful husband, and Jeremy, the ESPN sportscaster savant who falls into her trap. For all their recklessness, Violet and Sally will discover that David and Jeremy have a few surprises of their own. This One is Mine is a compassionate and wickedly funny satire about our need for more -- and the often disastrous choices we make in the name of happiness.
Between the twelfth and fifteenth centuries in Europe, not all women fit the stereotype of passive housewife and mother. Many led bold and dynamic lives. In this collection of historical portraits, Maria Teresa Brolis tells the fascinating tales of fashion icons, art clients, businesswomen, saints, healers, lovers, and pilgrims – both famous and little known – who challenge conventional understandings of the medieval female experience. Drawing on evidence from literary works and archival documents that include letters, chronicles, trials, testimonials, notary registers, contracts, and wills, Brolis pieces together an intricate overview of sixteen women’s lives. With zest and compassion, she describes the mysterious visionary Hildegard of Bingen, the cultured Heloisa, the powerful Eleanor of Aquitaine, Saint Clare of Assisi, the rebel Joan of Arc, as well as lesser-known women such as Flora, the penitent moneylender, Bettina the healer, and Belfiore the pilgrim, among others. Following the trajectories and divergences of their lives from wealth to poverty, from conjugal love to the love of community, from the bedroom to life on the streets of Paris, London, Mainz, Rome, and Bergamo, each portrait offers a riveting glimpse into the often complex and surprising world of the medieval woman. Combining the rigour of research with the thrill and empathy of narrative, Stories of Women in the Middle Ages is a provocative investigation into the biographies of sixteen incredible medieval heroines.
On the eve of her thirty-seventh birthday, Fran Clark finds herself in a role she would never have envisioned: that of a surprisingly desperate housewife. As Fran halfheartedly attempts to relaunch her once-vibrant career as a voiceover artist and obsesses over keeping up with the ruthless mothers' scene at her children's school, she begins to realize that her thirty-seventh year isn't going to resemble the midlife bliss she had imagined. Instead, she makes excuses for the fact that she's depressed and drinking -- a lot. But when Fran realizes she has failed her children one too many times, and begins to suspect her husband is having an affair, she knows she has hit rock bottom. It is Fran's two closest friends who ultimately come to her rescue. She learns to thank them for her salvation -- not because they are there for her, but because she discovers how to be there for them. Literate and well written, 37 is a searingly intimate and compulsively readable novel, a very modern diary of a (not quite) mad housewife. Filled with acute, often bitingly funny observations about motherhood, friendship, and the claustrophobia of suburbia, this pitch-perfect novel will resonate with any woman who has ever been stricken with self-doubt. 37 is Maria Beaumont's third novel. After the mums from her kids' school have finished with her, it may be her last.
In the years since Fidel Castro came to power, the migration of close to one million Cubans to the United States continues to remain one of the most fascinating, unusual, and controversial movements in American history. María Cristina García—a Cuban refugee raised in Miami—has experienced firsthand many of the developments she describes, and has written the most comprehensive and revealing account of the postrevolutionary Cuban migration to date. García deftly navigates the dichotomies and similarities between cultures and among generations. Her exploration of the complicated realm of Cuban American identity sets a new standard in social and cultural history.
Equity, diversity, and social justice are the values to which global democracies aspire. These elements have strong implications for our children and their schools. They are truly timely issues for all educators. The experiences of the author as a teacher, mother, and immigrant are woven throughout the text. This work is a compilation of essays that address the issues of schooling in relationship to diversity and literacy in pluralistic democracies. The essays offer theoretical perspectives, suggestions for practice, and useful resources to ensure an equitable education for all children. This book encourages educators to reflect on their role as agents of change in schools, and advocates of social justice.
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