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Written to Be the Introduction to a Book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, Published by the University of Wisconsin Press
1981 Written to be the Introduction to a book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, published by the University of Wisconsin Press. These volumes reproduced classic Warner Bros scripts from the Warner Bros Archive at the Wisconsin Center for Film and Theater Research with scholarly apparatus. Between the commissioning of this volume and its completion the series was cancelled. The script itself and associated stills cannot be reproduced without copyright permission. Since the piece was written, Warner Bros post-production files have been acquired by the Cinema Studies Library of the University of Southern California. It is likely that they close some of the questions here raised about the final form of the film. INTRODUCTION The Politics of the War Film Ian Jarvie 1. The Evolution of the Screenplay 2. Summary of the Story as Filmed 3. Production and Exploitation 4. Reception and Appraisal 5. Political Aftermath Objective Burma has both intrinsic and extrinsic interest to students of the motion picture. Intrinsically, it is a fine example of sustained and unrelieved treatment of combat within the restrictions of the war film genre. There is much to be learned from studying how the final screenplay emerged from the work of three writers and their producer, and from the further changes made by the director, technical advisor, and film editor during production and post-production. Initial confusion of aims is resolved as the option of a clean and unencumbered line of action is chosen. This enables the writers to clear sub-plots out of the excessively long draft screenplay and encourages further honing down during shooting and editing. -
2015 Inventory of Library by Categories Penny Kittle
2015 Inventory of Library by Categories Penny Kittle The World: Asia, India, Africa, The Middle East, South America & The Caribbean, Europe, Canada Asia & India Escape from Camp 14: One Man’s Remarkable Odyssey from North Korea to Freedom in the West by Blaine Harden Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity by Katherine Boo Life of Pi by Yann Martel Boxers & Saints by Geneluen Yang American Born Chinese by Gene Luen Yang The Orphan Master’s Son by Adam Johnson A Fine Balance by Rohinton Mistry Jakarta Missing by Jane Kurtz The Buddah in the Attic by Julie Otsuka First They Killed My Father by Loung Ung A Step From Heaven by Anna Inside Out & Back Again by Thanhha Lai Slumdog Millionaire by Vikas Swarup The Namesake by Jhumpa Lahiri Unaccustomed Earth by Jhumpa Lahiri The Rape of Nanking by Iris Chang Girl in Translation by Jean Kwok The Joy Luck Club by Amy Tan The Reason I Jump by Naoki Higashida Nothing to Envy: Ordinary Lives in North Korea by Barbara Demick Q & A by Vikas Swarup Never Fall Down by Patricia McCormick A Moment Comes by Jennifer Bradbury Wave by Sonali Deraniyagala White Tiger by Aravind Adiga Africa What is the What by Dave Eggers They Poured Fire on Us From the Sky by Deng, Deng & Ajak Memoirs of a Boy Soldier by Ishmael Beah Radiance of Tomorrow by Ishmael Beah Running the Rift by Naomi Benaron Say You’re One of Them by Uwem Akpan Cutting for Stone by Abraham Verghese Desert Flower: The Extraordinary Journey of a Desert Nomad by Waris Dirie The Milk of Birds by Sylvia Whitman The -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Donald Trump Shoots the Match1 Sharon Mazer
Donald Trump Shoots the Match1 Sharon Mazer The day I realized it can be smart to be shallow was, for me, a deep experience. —Donald J. Trump (2004; in Remnick 2017:19) I don’t care if it’s real or not. Kill him! Kill him! 2 He’s currently President of the USA, but a scant 10 years ago, Donald Trump stepped into the squared circle, facing off against WWE owner and quintessential heel Mr. McMahon3 in the “Battle of the Billionaires” (WrestleMania XXIII). The stakes were high. The loser would have his head shaved by the winner. (Spoiler alert: Trump won.) Both Trump and McMahon kept their suits on—oversized, with exceptionally long ties—in a way that made their heads appear to hover, disproportionately small, over their bulky (Trump) and bulked up (McMahon) bodies. As avatars of capitalist, patriarchal power, they left the heavy lifting to the gleamingly exposed, hypermasculinist bodies of their pro-wrestler surrogates. McMahon performed an expert heel turn: a craven villain, egging the audience to taunt him as a clueless, elitist frontman as he did the job of casting Trump as an (unlikely) babyface, the crowd’s champion. For his part, Trump seemed more mark than smart. Where McMahon and the other wrestlers were working around him, like ham actors in an outsized play, Trump was shooting the match: that is, not so much acting naturally as neglecting to act at all. He soaked up the cheers, stalked the ring, took a fall, threw a sucker punch, and claimed victory as if he (and he alone) had fought the good fight (WWE 2013b). -
Teaching and Learning Against All Odds: a Video- Based Study of Learner-To-Instructor Interaction in International Distance Education
International Review of Research in Open and Distance Learning Volume 10, Number 4. ISSN: 1492-3831 September – 2009 Teaching and Learning Against all Odds: A Video- Based Study of Learner-to-Instructor Interaction in International Distance Education Jean-Marie Muhirwa Equitas – The International Centre for Human Rights Education, Canada Abstract Distance education and information and communication technologies (ICTs) have been marketed as cost-effective ways to rescue struggling educational institutions in developing countries, particularly in sub-Saharan Africa (SSA). This study uses classroom video analysis and follow-up interviews with teachers, students, and local tutors to analyse the interaction at a distance between learners in Mali and Burkina Faso and their French and Canadian instructors. Findings reveal multiple obstacles to quality interaction: frequent Internet disconnections, limited student access to computers, lack of instructor presence, ill-prepared local tutors, student unfamiliarity with typing and computer technology, ineffective technical support, poor social dynamics, learner- learner conflict, learner-instructor conflict, and student withdrawal and resignation. In light of the near death of the costly World Bank-initiated African Virtual University (AVU), this paper concludes by re-visiting the educational potential of traditional technologies, such as radio and video, to foster development in poor countries. Keywords: Distance education; interaction; interactivity; sub-Saharan Africa; learners‘ support; Internet -
Toronto Comic Arts Festival
Drawn to the Form Leslie Holwerda Toronto Comic Arts Festival attended the first Toronto Comic author visits to school libraries; Douglas Mini Comic Arts Festival Ideas Arts Festival (TCAF) in 2012 and was Davey (who, incidentally, shared the Iinvited to participate in the third elevator with me on arrival) from Network with creators using Twitter & annual Librarian and Educator day as a Halton Hills Public Library discussing Facebook member of a panel discussing inclusion the future of collection development Colouring sheets and exclusion in comics, during TCAF using digital graphic novels; and award Access ideas from publishers or 2014 in May. I was thrilled when my winning creator, Ken Stacey, sharing the creator websites principal gave me permission to attend. variety of graphic novels available for Solicit items for giveaways instruction, information and education Order free from publishers & vendors I awoke much earlier than usual so I could (edutainment). The choice was difficult, Display a wide variety of titles for travel into Toronto and find my way by but edutainment won out. different interests and reading levels subway to the Toronto Reference Library. Include a gaming element or The lobby was almost empty except for Following coffee, participants selected challenge a security guard who was directing the one of three options: A panel discussion Story time presenters to the Bluma Appel Salon. with public librarians about the ups and Puppet show Andrew Woodrow-Butcher of The downs of maintaining a graphic novel Readers theatre Beguiling bookstore welcomed me and collection; a workshop with author Steven Maker Space with comic bottlecap jewellery, comic wallets directed me to the registration table where McCabe on the use of wordless comics Hold on a Saturday in the gym all participants received free comics, book to motivate creative writing skills in marks, postcards, conference information, students; or the Diversity in Comics Panel and directions to the coffee. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
5.0-6.0 the Lost Gate Card, Orson Scott 5.8 Danny North Knew From
5.0-6.0 The Lost Gate Card, Orson Scott 5.8 Danny North knew from early childhood that his family was different, and that he was different from them. While his cousins were learning how to create the things that commoners called fairies, ghosts, golems, trolls, werewolves, and other such miracles that were the heritage of the North family, Danny worried that he would never show a talent, never form an outself. He grew up in the rambling old house, filled with dozens of cousins, and aunts and uncles, all ruled by his father. Their home was isolated in the mountains of western Virginia, far from town, far from schools, far from other people. There are many secrets in the House, and many rules that Danny must follow. There is a secret library with only a few dozen books, and none of them in English — but Danny and his cousins are expected to become fluent in the language of the books. While Danny's cousins are free to create magic whenever they like, they must never do it where outsiders might see. Unfortunately, there are some secrets kept from Danny as well. And that will lead to disaster for the North family. The Gate Thief Card, Orson Scott 5.3 In this sequel to The Lost Gate, bestselling author Orson Scott Card continues his fantastic tale of the Mages of Westil who live in exile on Earth in The Gate Thief, a novel of the Mither Mages. Here on Earth, Danny North is still in high school, yet he holds in his heart and mind all the stolen outselves of thirteen centuries of gatemages. -
2013 Summer Reading List
SUMMER READING LIST 2013 TABLE OF CONTENTS INTRODUCTION 2 MIDDLE SCHOOL Grades 6 and 7 3 Grade 8 11 UPPER SCHOOL General Requirements 16 New International Students 17 Literature and Composition I Required 18 Literature and Composition I Recommended 19 Literature and Composition II Required 26 Literature and Composition II Recommended 26 Grades 11 and 12 Required 35 Literature and Composition III 35 AP English Language 37 The Short Story: Read It and Write It 38 The Tradition of the Novel 38 Found Voices 39 AP English Literature 39 Grades 11 and 12 Recommended 40 Language Books 57 Social Studies Books 60 INTRODUCTION ••••••••••••••••••••••••••••••••••••••••••••••••••••• All students at Dana Hall are required to complete summer reading. The books you read will be used in your English class during the first few weeks of the first trimester. As you read, we urge you to remember that the art of reading is a creative act, a collaboration between reader and writer. Hold a dialogue with these books: question, argue, disagree; underline those passages that exhilarate you as well as those that infuriate you. Keep a notebook to jot down your imme- diate responses to each of these works and write questions that you want to discuss in your English classes. Encourage your family and friends to join you in these reading experiences. A number of the books on this list have been made into movies, many of them wonderful in their own right. Seeing a movie instead of reading the book, however, will not prepare you for your teacher’s assignment related to that book, nor will it replace the unique experience of interacting with a specific text. -
Against All Odds: a Peer-Supported Recovery Partnership 2
Against All Odds: A Peer-Supported Recovery Partnership 2 PSA Behavioral Health Agency • History • Programs 3 Odds Against: Mental Illness • In 2012 it is estimated that 9.6 million adults aged 18 or older in the United States had been diagnosed with a Serious Mental Illness (SAMHSA: Prevention of Substance Abuse and Mental Illness, 2014) • Additionally, 23.1 million persons in the United States age 12 and older have required treatment services for Substance Use disorders (SAMHSA: Prevention of Substance Abuse and Mental Illness, 2014 ) 4 Odds Against: Bureau of Justice Statistics • Mental Health Problems of Prison and Jail Inmates: Special Report (September 2006 NCJ 213600) 1. Mental Health problems defined by recent history or symptoms of a mental health problem 2. Must have occurred in the last 12 months 3. Clinical diagnosis or treatment by a behavioral health professional 4. Symptoms were diagnosed based upon criteria specified in DSM IV 5 Odds Against: Bureau of Justice Statistics • Approximately 25% of inmates in either local jails or prisons with mental illness had been incarcerated 3 or more times • Between 74% and 76% of State prisoners and those in local jails met criteria for substance dependence or abuse • Approximately 63% of State prisoners with a mental health disorder had used drugs in the month prior to their arrests 6 Odds Against: Bureau of Justice Statistics • 13% of state prisoners who had a mental health diagnoses prior to incarceration were homeless within the year prior to their arrest • 24% of jail inmates with a mental health diagnosis reported physical or sexual abuse in their past • 20% of state prisoners who had a mental health diagnosis were likely to have been in a fight since their incarceration 7 Odds Against: Homelessness • 20 to 25% of the homeless population in the United States suffers from mental illness according to SAMHSA (National Institute of Mental Health, 2009) • In a 2008 survey by the US Conference of Mayors the 3rd largest cause of homelessness was mental illness. -
Microsoft Visual Basic
$ LIST: FAX/MODEM/E-MAIL: aug 23 2021 PREVIEWS DISK: aug 25 2021 [email protected] for News, Specials and Reorders Visit WWW.PEPCOMICS.NL PEP COMICS DUE DATE: DCD WETH. DEN OUDESTRAAT 10 FAX: 23 augustus 5706 ST HELMOND ONLINE: 23 augustus TEL +31 (0)492-472760 SHIPPING: ($) FAX +31 (0)492-472761 oktober/november #557 ********************************** __ 0079 Walking Dead Compendium TPB Vol.04 59.99 A *** DIAMOND COMIC DISTR. ******* __ 0080 [M] Walking Dead Heres Negan H/C 19.99 A ********************************** __ 0081 [M] Walking Dead Alien H/C 19.99 A __ 0082 Ess.Guide To Comic Bk Letterin S/C 16.99 A DCD SALES TOOLS page 026 __ 0083 Howtoons Tools/Mass Constructi TPB 17.99 A __ 0019 Previews October 2021 #397 5.00 D __ 0084 Howtoons Reignition TPB Vol.01 9.99 A __ 0020 Previews October 2021 Custome #397 0.25 D __ 0085 [M] Fine Print TPB Vol.01 16.99 A __ 0021 Previews Oct 2021 Custo EXTRA #397 0.50 D __ 0086 [M] Sunstone Ogn Vol.01 14.99 A __ 0023 Previews Oct 2021 Retai EXTRA #397 2.08 D __ 0087 [M] Sunstone Ogn Vol.02 14.99 A __ 0024 Game Trade Magazine #260 0.00 N __ 0088 [M] Sunstone Ogn Vol.03 14.99 A __ 0025 Game Trade Magazine EXTRA #260 0.58 N __ 0089 [M] Sunstone Ogn Vol.04 14.99 A __ 0026 Marvel Previews O EXTRA Vol.05 #16 0.00 D __ 0090 [M] Sunstone Ogn Vol.05 14.99 A IMAGE COMICS page 040 __ 0091 [M] Sunstone Ogn Vol.06 16.99 A __ 0028 [M] Friday Bk 01 First Day/Chr TPB 14.99 A __ 0092 [M] Sunstone Ogn Vol.07 16.99 A __ 0029 [M] Private Eye H/C DLX 49.99 A __ 0093 [M] Sunstone Book 01 H/C 39.99 A __ 0030 [M] Reckless -
CHAPTER 5 BRAINPOWER for LEADERSHIP
5 VOLUME TWO: TEAM LEADERSHIP CHAPTER 5 BRAINPOWER for LEADERSHIP LEADERSHIP IS AN INTELLECTUAL ACTIVITY. It requires brainpower. Developing your brainpower can only make you a more effective leader. Recognizing this fact, the U.S. military, the most professional force in the world, requires all officers to be college graduates. Moreover, even after commissioning, officers will attend four or more graduate-level schools on their way to the grade of colonel and above. Top NCOs receive a rigorous education, too. Moreover, a leader’s overall brainpower will affect his or her success. In this chapter, we look at critical thinking, creativity, and teaching – three aspects of leadership that speak to the need for serious study and the application of brainpower. Leaders need to teach themselves how to think and how to learn. If you want to lead, you better get yourself smart. 38 VOLUME TWO: TEAM LEADERSHIP CRITICAL THINKING CHAPTER GOALS 1. Explain why and how leaders “To every complex question there is a simple answer, try to be critical thinkers. and it is wrong.” 2. Appreciate the value of H.L. MENCKEN creativity in leadership. Journalist and social critic 3. Develop an understanding OBJECTIVE: of some fundamentals in teaching 1. Defend the claim that critical thinking has a direct and training. impact on a leader’s effectiveness. If leadership requires careful study and reflection, as we discussed in chapter three, then a leader’s critical CHAPTER OUTLINE thinking skills have a direct influence on his or her In this chapter you will learn about: effectiveness. The good news is that everyone can develop better critical thinking skills through study Critical Thinking and practice.