What happens when a career Marine officer stops believing in the doctrine of the Corps and the official pretexts for war? In 2006, Winston Tierney deployed to Iraq's Anbar Province with the Fourth Reconnaissance Battalion, excited and proud to serve his country in the fight against international terrorism. After several trips to Iraq over the next nine years he returned depleted by hatred, mendacity, alcohol abuse and PTSD, he felt he had "seen behind the curtain"--and didn't like what he saw. This hard-hitting memoir depicts the brutal realities of the conflict in Iraq at street level, while giving a clear-eyed treatise on the immorality of war and the catastrophe of America's failures in the Middle East.
Before turning to filmmaking, Francois Truffaut was a film critic writing for Cahiers du Cinema during the 1950s. The Early film Criticism of Francois Truffaut makes available, for the first time in English, articles that originally appeared in French journals such as Cahiers du Cinema and Arts. Truffaut discusses films by such acknowledged masters as Hitchcock, Huston, Dymytryk, and Lang, but also examines the work of such lesser-known directors as Robert Wise, Don Weis, and Roger Vadim.
Styled as a complete update to the 1991 book "Administration and Leadership in Student Affairs", this work addresses issues of importance to student affairs professionals. Grounded in human development, learning, leadership, group dynamics, management theories, and social science research and evaluation methods, this book articulates the means for college student affairs administrators to function in the forefront of student learning and personal development initiatives. The book focuses on the three essential roles played by student affairs administrators: as educators who play a significant role in addressing the academic goals of their institutions, as leaders who help to shape the vision of their institution's student affairs practice and education mission, and as managers who are responsible for co-ordinating programs and services, supervising staff, and overseeing university facilities and budgets.
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.
Film Noir and the Cinema of Paranoia is an overview of 20th- and 21st-century noir and fatalist film practice from 1945 onwards. The book demonstrates the ways in which American cinema has inculcated a climate of fear in our daily lives, as reinforced, starting in the 1950s, by television, and later videocassettes, the web, and the Internet, to create, by the early 21st century a hypersurveillant atmosphere in which no one can avoid the barrage of images that continually assault our senses. The book begins with the return of American soldiers from World War II, 'liberated' from war in the Pacific by the newly created atomic bomb, which will come to rule American consciousness through much of the 1950s and 1960s and then, in a newer, more small-scale way, become a fixture of terrorist hardware in the post-paranoid ear of the 21st century. Film Noir and the Cinema of Paranoia is constructed in six chapters, each highlighting a particular 'raising of the cinematic stakes' in the creation of a completely immersible universe of images. Selling points:*Expands the definition of noir to include numerous lesser known works.*Deals with Red Scare films of the 1950s in the US.*Examines the 'dark side' of the 1960s, or films that questioned the emerging counterculture.*Explores such neo-noir films as The Last Seduction (1993), Angel Heart (1987), The Grifters (1990), Red Rock West (1993), The Usual Suspects (1995), Mulholland Drive (2001), L.A. Confidential (1997), and Memento (2000).*Details the 'noir' aspects of the cybernetic age, both in online and videogame uses.
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.
Now that responsibility for welfare policy has devolved from Washington to the states, Pamela Winston examines how the welfare policymaking process has changed. Under the welfare reform act of 1996, welfare was the first and most basic safety net program to be sent back to state control. Will the shift help or further diminish programs for low-income people, especially the millions of children who comprise the majority of the poor in the United States? In this book, Winston probes the nature of state welfare politics under devolution and contrasts it with welfare politics on the national level. Starting with James Madison's argument that the range of perspectives and interests found in state policymaking will be considerably narrower than in Washington, she analyzes the influence of interest groups and other key actors in the legislative process at both the state and national levels. She compares the legislative process during the 104th Congress (1995-96) with that in three states — Maryland, Texas, and North Dakota — and finds that the debates in the states saw a more limited range of participants, with fewer of them representing poor people, and fewer competing ideas. The welfare reform bill of 1996 comes up for renewal in 2002. At stake in the U.S. experiment in welfare reform are principles of equal opportunity, fairness, and self-determination as well as long-term concerns for political and social stability. This investigation of the implications of the changing pattern of welfare politics will interest scholars and teachers of social policy, federalism, state politics, and public policy generally, and general readers interested in social policy, state politics, social justice, and American politics.
straight / 'strāt (adj.) . . . without curves . . . correct . . . honest . . . not deviating from the normal . . . conventional . . . Heterosexual Practically all mainstream cinema is "straight," and has been since its inception. In Straight, Wheeler Winston Dixon explores how heterosexual performativity has been constructed in film, from early cinema to the present day. In addition to discussing how cinematic visions of masculine and feminine desire have been commodified and sold to reinforce existing societal constructs, Dixon also documents the recent emergence of "hypermasculinity," a kinetic and exaggerated masculinity that has been created to counter the more gentle, thoughtful male portrayed in While You Were Sleeping, Sleepless in Seattle, and other films that seemingly threaten the established order of patriarchal cinematic discourse.
Bringing together for the first time prominent researchers in social insect pheromone communication, including nestmate recognition, this book looks at ants, wasps, bees, and termites, highlighting areas of convergence and divergence among these groups, and identifying areas that need further investigation. Presenting broad synthetic overviews as well as species-specific studies, the volume will be useful to natural scientists, ecologists, and those interested in pest management, as well as to anyone interested in the fascinating chemically mediated behavioral interactions of social insects.
This authoritative and intimate biography, written by his only living son, Ronald Winston, marries the Gilded Age glamour and romance of Edith Wharton with the ruthless family dynamics of HBO’s hit series, Succession. Few American success stories rival that of Harry Winston. Born Harry Weinstein, he came from humble roots—his parents were poor Jewish immigrants who left Ukraine around 1890 for New York, where they settled and started a small jewelry business. His genius for spotting priceless gems emerged young. When Harry was twelve years old, he recognized a two-carat emerald in a pawn shop and bought it for 25 cents, selling it two days later for $800—a massive sum in the early 1900s. From that moment on, Harry became obsessed with gems, especially diamonds. A compact, unassuming man with no formal education, but unlimited drive and ambition, Harry Weinstein transformed himself into Harry Winston, the enigmatic figure who created the world’s most prestigious luxury brand. Harry Winston built his empire while the Depression raged, World War II reshaped the world, and America entered its post-war period of prosperity. In this riveting biography, readers get a bird’s eye view of the dangers of the diamond trade and the lengths men would go to get their hands on the best of the “rough.” There’s also a glimpse into the lives of the rich and famous, who clamored for Winston’s gems. Although he traveled the world doing business with kings, queens, and movie stars, Winston remained a devoted family man, whose chief wish was that his sons carry on the legacy he had built. Harry’s older son Ronald Winston worked alongside his father for decades. After Harry’s death, Ron grew the company into the international brand that is still revered today. He ran it expertly, until he was forced to sell the company, due to his younger brother’s maligning litigation. This is the story of a family business that survived and thrived for more than a century, until it was undone by one, bitter family member. KING OF DIAMONDS is at once a portrait of American ingenuity at its best, and the story of sibling rivalry that is Shakespearean in its tragedy.
Visions of the Apocalypse examines the cinema's fascination with the prospect of nuclear and/or natural annihilation, as seen in such films as Saving Private Ryan, Bowling for Columbine, We Were Soldiers, Invasion U.S.A., The Last War, Tidal Wave, The Bed Sitting Room, The Last Days of Man on Earth and numerous others. It also considers the ways in which contemporary cinema has become increasingly hyper-conglomerised, leading to films with ever-higher budgets and fewer creative risks. Along the way, the author discusses such topics as the death of film itself, to be replaced by digital video; the political and social tensions that have made these visions of infinite destruction so appealing to the public; and the new wave of Hollywood war films, coupled with escapist comedies, in the post-9/11 era. Encompassing both questions of physical and filmic mortality Visions of the Apocalypse is a meditation on the questions of time, memory and the cinema's seemingly unending appetite for spectacles of destruction.
Overdue bills and constant mother vs. mother-in-law battles at home are bad enough. But crafts editor Anastasia Pollack's stress level is maxed out when she and her fellow American Woman editors get roped into unpaid gigs for a revamped morning TV show. Before the glue is dry on Anastasia's mop dolls, morning TV turns crime drama when the studio is trashed and the producer is murdered. Former co-hosts Vince and Monica—sleazy D-list celebrities—stand out among a lengthy lineup of suspects, all furious over the show's new format. And Anastasia has no clue her snooping has landed her directly in the killer's unforgiving spotlight. Keywords: women sleuths, amateur sleuth mystery, cozy mystery, crafting mystery, murder mystery, pet mystery, crafts & hobbies, workplace mystery
This book is a study of one of the most insidious and pervasive phenomena in the study and reception of cinema: the "returned gaze" from the screen, in which the audience is actually surveilled by the film being projected on the screen. Rather than the usual process of watching a film, in those films which return the gaze of the viewer, the film looks at us, confronting our voyeur's embrace of the spectacle it presents. The book cites examples as diverse as Andy Warhol's Vinyl, Laurel and Hardy two-reel comedies, the films of Jean-Marie Straub, Jean-Luc Godard, Roberto Rossellini, and Wesley E. Barry's Creation of the Humanoids. It also discusses the history of the returned gaze in video, pornography, surveillance systems, and the related plastic arts.
Integrated approach to language instruction develops student's listening, speaking, reading and writing skills with a variety of print and technology resources.
I was born under the Blue Ridge, and under that side which is blue in the evening light, in a wild land of game and forest and rushing waters. There, on the borders of a creek that runs into the Yadkin River, in a cabin that was chinked with red mud, I came into the world a subject of King George the Third, in that part of his realm known as the province of North Carolina. The cabin reeked of corn-pone and bacon, and the odor of pelts. It had two shakedowns, on one of which I slept under a bearskin. A rough stone chimney was reared outside, and the fireplace was as long as my father was tall. There was a crane in it, and a bake kettle; and over it great buckhorns held my father's rifle when it was not in use. On other horns hung jerked bear's meat and venison hams, and gourds for drinking cups, and bags of seed, and my father's best hunting shirt; also, in a neglected corner, several articles of woman's attire from pegs. These once belonged to my mother. Among them was a gown of silk, of a fine, faded pattern, over which I was wont to speculate. The women at the Cross-Roads, twelve miles away, were dressed in coarse butternut wool and huge sunbonnets. But when I questioned my father on these matters he would give me no answers. My father was—how shall I say what he was? To this day I can only surmise many things of him. He was a Scotchman born, and I know now that he had a slight Scotch accent. At the time of which I write, my early childhood, he was a frontiersman and hunter. I can see him now, with his hunting shirt and leggings and moccasins; his powder horn, engraved with wondrous scenes; his bullet pouch and tomahawk and hunting knife. He was a tall, lean man with a strange, sad face. And he talked little save when he drank too many "horns," as they were called in that country. These lapses of my father's were a perpetual source of wonder to me,—and, I must say, of delight. They occurred only when a passing traveller who hit his fancy chanced that way, or, what was almost as rare, a neighbor. Many a winter night I have lain awake under the skins, listening to a flow of language that held me spellbound, though I understood scarce a word of it.
Winston Churchill (1871-1947) was an American novelist. He attended Smith Academy in Missouri and the United States Naval Academy, where he graduated in 1894 and became an editor of the Army and Navy Journal. He resigned from the navy to pursue a writing career. While it is claimed that his first novel was The Celebrity, published in 1898, a question arises where his novel called Mr. Keegan's Elopement should be placed, because it was published two years earlier in (1896) within a magazine. Later in 1903 it was republished as an illustrated hardback book. His next novel called Richard Carvel, was published the next year. It was a phenomenon, literally selling by the box-car as many as two million copies in a nation of only seventy- six million, and that book made Churchill rich. His next two novels, The Crisis (1901) and The Crossing (1904), were also very successful. In 1917, he toured the battlefields of World War I and wrote about what he saw, his first non-fiction work. Sometime after this move, he took up watercolours, and also became known for his landscapes.
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