Annotation Not only in the filmmaking, broadcasting, and journalism worlds but in all types of businesses, visual media and video are fast becoming one of the most important tools for disseminating information. This book walks teachers and students through the entire process of digital content creation in a fun, project-oriented way that resonates with a younger audience - from development of the story to deciding which equipment to use, to producing a video and editing the content, to final output and distribution.
A father (Tom) hears his son Richard say, “School is OK except I don’t like learning numbers or arithmetic.” After dinner, Tom sits with Richard and tells him a story of a kingdom long ago where the use of numbers is forbidden by King Kcaj and of the chaos that ensues because of it. As Tom’s story unfolds, he hopes to instill in Richard a sense of the importance of learning numbers, counting, and arithmetic along with other life lessons.
There is a fifth dimension beyond that which is known to man. You should all know that by now. This is a dimension which began, on national television, with Rod Serling’s The Twilight Zone. Here, Michigan horror writer Tom Sawyer (White Out) presents to you even further provocative and eerie tales as a follow-up to his first two collections in his series In Rod We Trust. Follow Mr. Sawyer, if you dare, into this dimension of imagination that knows no concepts of time or boundaries and beyond mystery and normal understanding or perception. Black Bed Sheet Books proudly presents In Rod We Trust Again.
Petersburg, that "sleepy little village" we read about in The Adventures of Tom Sawyer, awakes to the news of Huckleberry Finn's presumed murder, and the escape of Miss Watson's Jim. A confrontation is evoked between Jimmy Finn, and Judge Thatcher, when widow Douglas is given the rights to Huck's money. Jimmy swears revenge against Judge Thatcher, and nearly kills Widow Douglas. Without Huck, Tom Sawyer turns his attention to Becky Thatcher as his new bosom friend. She proves to be a willing comrade and participant. The two embark on an expedition of an old home-The Stantan Home-to look for a rumored treasure. They discover a passageway that has been filled with dirt. Believing the treasure to be on the other side, they begin removing dirt. Their adventure is interrupted when Jimmy takes out his revenge on Judge Thatcher by kidnapping Becky, with the help of two accomplices. Becky knows she must remain strong in order to overcome her ordeal. Tom, believing he is to blame for her kidnapping, goes in search for her. After Becky's escape, she and Tom resume their adventure within the Stantan Home. What they discover at the end of the tunnel both amazes and mystifies them. And it has nothing to do with the rumored treasure!
There is a fifth dimension beyond that which is known to man. This is a dimension of imagination. In the case of these stories, it is THE 2nd TIME where author Tom Sawyer’s imagination takes flight in an explosive follow-up to IN ROD WE TRUST, a collection of stories uniquely inspired by Rod Serling's THE TWILIGHT ZONE television series. Mr. Sawyer, as a celebrated Michigan horror and science fiction fiction author over many years past, presents to you further thrilling tales that will not only entertain, enchant, and leave you mesmerized, but guaranteed to completely pull you in and freak you out....which is exactly what fervent fans of Serling's The Twilight Zone fully expect!
In this book, dramaturg Tom Bryant shares with readers and writers his insights into the process of historical adaptation. The book uses case studies from Bryant's collaborations with playwrights on successful Broadway and regional productions to work through the fundamental questions of historical adaptation: Why do you want to adapt history? For what purpose? What is your approach? How does that approach affect the portrayal of events? How does that choice by the playwright and the dramaturg then determine the framing and focus in the story, the selection of the key events and the choice of characters? What is the meaning you want the audience to take away from the events? How is your adaptation of past events relevant to contemporary times? In addition, the author explores the moral and ethical responsibilities involved for the dramaturg and the playwright in the adaptation of history and how issues of diversity, equity and inclusion impact the presentation of historical material. This is an indispensable resource for anyone whose craft brings them to the task of adapting historical material for the stage—in postgraduate work, teaching or professional practice.
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