Average customer rating:
- A Pathbreaking Resource
- About the book
- Fascinating new field
- Books Are Not Net.Art
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Internet Art (World of Art)
Rachel Greene
Manufacturer: Thames & Hudson
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Binding: Paperback
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Digital Art (World of Art)
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New Media in Art (World of Art)
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New Media Art (Taschen Basic Art Series)
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Video Art, Second Edition
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Art of the Digital Age
ASIN: 0500203768 |
Book Description
The diverse forms of Internet art and the tools and equipment used to create them are discussedand placed within the wider cultural context.
When the Internet emerged as a mass global communication network in the mid-1990s, artists immediately recognized the exciting possibilities for creative innovation that came with it. After a century of unprecedented artistic experimentation, individuals and groups were quick to use the new technologies to question and radically redefine the conventions of art, and to tackle some of the most pressing social, political, and ethical issues of the day.
Covering email art, Web sites, artist-designed software, and projects that blur the boundaries between art and design, product development, political activism, and communication, Internet Art shows how artists have employed online technologies to engage with the traditions of art history, to create new forms of art, and to move into fields of activity normally beyond the artistic realm. The book investigates the ways Internet art resists and shifts assumptions about authorship, originality, and intellectual property; the social role of the artist; issues of identity, sexuality, economics, and power; and the place of the individual in the virtual, networked age.
Throughout, the views of artists, curators, and critics offer an insider's perspective on the subject, while a timeline and glossary provide easy-to-follow guides to the key works, events, and technological developments that have taken art into the twenty-first century. 200 illustrations, 100 in color.
Customer Reviews:
A Pathbreaking Resource.......2004-06-03
This book offers the very best of the World of Art Series' reference-based scholarship. Parallelled in the series only by the contributions of Hans Richter and Roselee Goldberg (most likely because Greene shares with these scholars the distinction of being a firsthand participant-observer in the phenomena she describes), this book is a wonderfully comprehensive and readable introduction to an arcane, subterranean art history. This will surely be considered the guidebook for a largely uncharted territory in contemporary art.
About the book.......2004-05-22
I read an article about this book/author in a recent issue of Time Out New York. At first I didn't think I would be remotely interested in the subject matter. It seemed pretty random. But the article really piqued my interest in the field. After reading the book INTERNET ART, I think internet art might be the most intriguing contemporary art practice out there. This book has a great balance of insider experience, 20th century art history, and handholding for novices (which I am). A really good resource.
Fascinating new field.......2004-05-22
I am an avid reader about contemporary art and I found this book pushed buttons and raised questions I had never even thought of... it's clear that the internet is a defining medium, especially for younger generations, and this book helped me think about the net in a more critical and expansive way. I love the World of Art series and recommend its titles to those trying to get their minds around art and art history. This book was great and I especially liked author's use of the non-net art examples including Tiravanija, Valie Export, and Cindy Sherman.
Books Are Not Net.Art.......2004-05-11
In the end, for all its fury (and New Mediasts and Anarchists worked side-by-side in the 1990s) revolutionary art was caught in contradictions. It could not or would not break free of the forms of bourgeois media culture as a whole. Its content and method could become transformations of the hierarchial media but, while net art remained imprisoned within the social spectacle, its transformations remained imaginary. Rather than enter into direct social conflict with the old media it criticized, it transferred the whole problem into an abstract and inoffensive sphere where it functioned objectively as a force consolidating all it wanted to destroy. Revolt against push media became the evasion of push media. Marx's original critique of the genesis of religious myth and ideology applies word-for-word to the rebellion of bourgeois network art: it too "is at the same time the expression of real distress and the protest against real distress. It is the sigh of the oppressed creature, the heart of a heartless world, just as it is the spirit of a spiritless situation. It is the opium of the people" [Marx, Contribution to the critique of Hegel's "Philosophy of Right"].
Book Description
Pac-Man. Frogger. Super Mario Bros. These classic videogames are burned into the collective consciousness of an entire generation, thanks to countless hours spent at pizza parlors and bowling alleys across the country. Now artists such as Gary Baseman, Tim Biskup, and Ashley Wood put their memories to paper, canvas, and wood to create original works of art inspired by the art of the videogame. Chuck Klosterman shares his thoughts in his distinctively insightful and entertaining style in a foreword on how videogames created a new playground for artistic expression. With more than 100 thought-provoking, amusing, and simply fun pieces of original art, i am 8-bit is a pixilated stroll down memory lane.
Customer Reviews:
Take pop appreciation to a new level.......2007-01-12
Coffee table or bookcase, this book is for the most artistic of videogame fans, as well as those that appreciate mixed media with their pop culture. Joust, Mario Bros, Donkey Kong, Pac Man, Q-Bert and more are all displayed like you've never seen them by talented artists. The nostalgia is thick and sweet smelling; a feeling that few will appreciate to it's fullest. Highly recommended for artists and nerds alike. Also check out Arcade Fever and Supercade for the history behind our favorite up up down down history.
IN 8-BIT WE TRUST!.......2006-08-23
"I AM 8-BIT" is a must have for those old school fanatics who long for another golden era... one of the best books ever made. Buy it now!!!
art is neato........2006-05-14
this book is a great collection of established and up and coming artists interpreting classic video games. what more could you want?
Pop Art a la '80s.......2006-05-13
First and foremost, this book makes a wonderful inexpensive gift for anyone who grew up in the '80s playing the 'ole 8-bit video systems and still has a bit of nostalgia for those simpler times. It's also pretty neat as a bound exhibit of how pop culture can be transformed into art that's actually quite captivating. About 70 artists contributed works, and the medium of choice is definitely oil and acrylic paint, with a fair number of mixed media pieces thrown in. The styles vary wildly, with influences ranging from surrealism to manga to skateboard art to graffiti to crafting to abstract to pixelation and on and on. It's actually a pretty decent overview of modern pop art sensibilities.
In terms of subject matter, far and away the most prevalent "inspirations" are from the Donkey Kong/Mario Bros. franchise, with Pac Man coming in next, and Frogger, Zelda, and Dig Dug also getting much play. However, some of the best pieces are from less popular games, like Tim Tomkinson's "Duck Hunter S. Thompson" mashup of a portrait of the gonzo journalist with the Sega "Duck Hunter" graphics, Jim Rugg's faux poster for a pro wrestling event featuring characters from the Nintendo wrestling game, or Jason Sho Green's pen and ink "Tantric Tetris". On the whole it's a very fun, well-designed book, nicely produced, and sure to bring a smile to many 30somethings. It's worth noting that I like Chuck Klosterman too, but his foreword is pretty slim, maybe 500 words, so don't buy it for that!
Rad, Awesome, and Other '80s Reactions Inspired by This Book.......2006-04-24
Where do I start? I found this gem listed under books from Chuck Klosterman, who I think speaks for an entire generation of 30-somethings raised on bad rock bands and crappy John Hughes movies. I gave it a shot, and wasn't disappointed!
In typical Chuck fashion, he analyzes video games and why they had an indelible affect on the childhoods of guys like me who spent about $3 million in quarters on Yie Ar Kung Fu (and why, 20 years later, guys i tell this to completely understand). For Klosterman fans, this is worth half the price right here.
But that's just 2% of the book! The rest is filled with totally awesome art that's hard to describe because I've never really seen anything like it--it's not advertising art, or game screenshots, or concept art from games. I guess it's just like the sub-title says, artwork inspired by what the artists played as kids in the 80's, but it's still hard to understand until you actually see it.
And what's really cool are the pieces that have quotes from the artists explaining their inspirations, why they used a particular game, or just random game memories--really funny stuff!
My favorites are:
1) Excitebike: Cool blocky render of a classic. Made me remember how I'd build my own track and line up all those turbo things.
2) Mega Man: I recognize this artist, Tim Biskup, from Juxtapoz and Super 7 magazines. Cool!
3) Don't Be a 2nd Player Hater (Luigi for Sheezy): Luigi pimped out like Snoop. Hilarious, yo!
4) Pac-Man in Hospice: This gives me nightmares. Especially the Frogger frog.
5) Record Dug Digger: Cross between skateboard art (in a good way) and NY graffiti. Trust me, it's awesome!
Other games I recognized include more mainstream stuff like Joust and Space Invaders to games that are a little more esoteric, like Contra, 720, Kid Icarus, and that weird robot thing that came with the NES. If you're a fan of the classics, I highly recommend it!
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New Media Art (Taschen Basic Art Series)
Mark Tribe , and
Reena Jana
Manufacturer: Taschen
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New Media in Art (World of Art)
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Art of the Digital Age
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Digital Art (World of Art)
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Internet Art (World of Art)
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The New Media Reader
ASIN: 3822830410 |
Book Description
Art in the age of digital communication...
Artists have always been early adopters of emerging media technologies, from Albrecht Dürer and his use of the printing press in the 16th century to Nam June Paik's experiments with video in the 1960s. In 1994, the advent of the Internet as a popular medium catalyzed a global art movement that began to explore the cultural, social, and aesthetic possibilities of such new communication technologies as the Web, video surveillance cameras, wireless phones, hand-held computers, and GPS devices. This book addresses New Media art as a specific art historical movement, focusing not only on technologies and forms but also on thematic content and conceptual strategies. New Media art often involves appropriation, collaboration, and the free sharing of ideas and expressions, and frequently addresses the political ramifications of technology around issues of identity, commercialization, privacy, and the public domain. Many New Media artists are profoundly aware of their art historical antecedents, making reference to Dada, Pop Art, Conceptual art, Performance art, and Fluxus.
Artists featured: Cory Arcangel, Jonah Brucker-Cohen and Katherine Moriwaki, Young-Hae Chang Heavy Industries, Vuk Cosic, Mary Flanagan, Ken Goldberg, Paul Kaiser and Shelly Eshkar, Jennifer and Kevin McCoy, Mouchette, MTAA, Keith and Mendi Obadike, Radical Software Group, Raqs Media Collective, RTMark, and John F. Simon Jr.
Average customer rating:
- Read it, then read it again, then read a different book.
- A great source on color space, but that's about it
- Not worth it!
- A fun, down-to-earth read, held back by some minor errors.
- Best book on the subject
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Digital Moviemaking, 2nd Edition: All the Skills, Techniques and Moxie You'll Need to Turn Your Passion into a Carrer (The Filmmaker's Guide to the 21st Century)
Scott Billups
Manufacturer: Michael Wiese Productions
ProductGroup: Book
Binding: Paperback
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Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player
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Film Directing: Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions)
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Digital Filmmaking 101: An Essential Guide to Producing Low-Budget Movies
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Lighting for Digital Video & Television, Second Edition
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Digital Cinema : The Revolution in Cinematography, Post-Production, and Distribution
ASIN: 0941188809
Release Date: 2004-07-02 |
Book Description
Geared to professional-minded people who have had some prior experience in production and understand the fundamental difference between a hobby and a career.
Customer Reviews:
Read it, then read it again, then read a different book........2005-10-31
I liked this book. After getting a degree in film school, then going to a post production school you learn what books and what information is real, is for beginners, and is for the business people looking for a quick buck thinking they can run Hollywood over with their copycat movies.
This book has some guts, although not 100% correct on some issues, but well worth the read.
As Charles Henry Blackledge says in his review--some i agree with and others I do not...
Chuck writes---------------------------------------------------------------
If you're looking for a book that will give you practical, nuts and bolts, down to brass tacks advice on how to make a quality, professional looking DV movie on an ultra-low budget then "Digital Moviemaking" by Scott Billups is NOT the book you're looking for. This book was obviously written by a tech-nerd for other tech-nerds.
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Chuck!! I find that of you are making your own movie, one NEEDS to BE a tech-nerd. Self movie creation and publication is not for the creative types, you have to be all the above. We are not talking that you can be one and hire the rest, this is not what the book is about.
Yes I agree the title should be changed to fit the information, but why make the title ruin what information is in there?
Chuck writes----------------------------------------------------------------
If you are an aspiring filmmaker who has a good movie idea and want to know how to shoot it on an ultra-low budget then don't waste your money buying this book.
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If you ARE an aspiring moviemaker (we are shooting it on video; therefore, we are MOVIEMAKERS not filmmakies) you should NEVER use any home movie camera or home movie media (miniDV, any if them)--as you so call it low budget. People should only use these for practice, never for publication or projection. Seriousness shows what you will do with your time, money, and craft.
Of course one could have a wonderful, exciting, and entertaining story done on VHS, but why would one waste their efforts putting it on it. IT DOES NOT SHOW how serious or their commitment to their craft. Save up, borrow, or beg for the better stuff.
Chuck writes-----------------------------------------------------------------
I recommend instead reading "Digital Filmmaking 101" by Dale Newton and John Gaspard which is a much better book that explains in layman's terms how to shoot a quality, professional looking movie on digital video.
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I also have this book and found it informative as well.
With any information, news, gossip, and so forth, why do people read it from one source and call it truth or real? Read more than one paper, watch more than one news program, look at more than one weather station, and read more than one book on moviemaking--the more you do this better informed you will be.
- gerry davenport
A great source on color space, but that's about it.......2005-04-06
Billup's book is creative, fun read. But looking back on it, it's not one of those essential film books. The book's greatest strength is explaining color space and color depth, which are Billup's profession as he works on the technical side of HD production. He explores these rather dry issues in a fun and witty way. And he also explores working in Hollywood in a new, positive way. But beyond that, the book gives a very, very, very broad look at every other field of digital moviemaking, making it seem in the end too darn general to be effective. A better book for breaking into digitial filmmaking: $30 Film School by Michael Dean. It does a much better job of covering all the bases and is just as fun.
Not worth it!.......2004-11-03
If you're looking for a book that will give you practical, nuts and bolts, down to brass tacks advice on how to make a quality, professional looking DV movie on an ultra-low budget then "Digital Moviemaking" by Scott Billups is NOT the book you're looking for. This book was obviously written by a tech-nerd for other tech-nerds.
The majority of this book is technical information and history and should instead be entitled:"Hi-Definition Video Moviemaking" as this is what Billups spends the majority of the book discussing. There is precious little in this book that a low-budget filmmaker will find of use. Billups and co. are apparently of the opinion that it's a waste of time shooting on anything other than HD video or 35mm film and seem to have nothing but contempt for Independent, low-budget filmmakers.
If you are an aspiring filmmaker who has a good movie idea and want to know how to shoot it on an ultra-low budget then don't waste your money buying this book. I recommend instead reading "Digital Filmmaking 101" by Dale Newton and John Gaspard which is a much better book that explains in layman's terms how to shoot a quality, professional looking movie on digital video. It was written by 2 guys who have made good low-budget films and have a lot more respect for and understanding of independent, low-budget filmmakers than Scott Billups.
A fun, down-to-earth read, held back by some minor errors........2004-08-30
I got this book a matter of days ago, and upon finishing the introduction, I hated the author with a passion. He had me furious with his no-nonsense, kick-in-the-crotch attitude that went against everything I believed. Or so I thought. After a good night's sleep, I realized that most of what he had to say was correct, and I found my way around to agreeing with most of his points. I decided to give the rest of it a chance, and I'm glad I did, because although Billups continues telling it like he thinks it is (he's right pretty much all of the time, to his credit), he manages to inject a sense of humor into the proceedings, and keep the book light hearted enough so as not to scare you away. This helps tremendously in making him seem more like a working professional, and not a pompous, self-important windbag.
I haven't got much to say about the GOOD parts of the book; they are numerous indeed, and I learned a good deal from them regardless of the fact that I don't see myself doing this for a living.
No, what struck me most about this book was the liberal sprinkling of spelling, grammatic, conceptual, and structural errors. Never before have I encountered such nonsense in a FIRST edition book, let alone a second. What am I talking about? Well, the spelling errors are usually minor, and easily overlooked, but the grammar is another thing entirely. "Orientated" instead of "oriented", "bandpass" instead of "bandwidth", things like that. "Orientated", I suppose, is technically correct (though it makes one look about as ridiculous as "irregardless" does), and "bandpass" may very well be the proper term in certain situations, but it's like the difference between "GNU/Linux" and "Linux": NO ONE uses the "proper" term, NO ONE is going to be confused, and as such it is completely unnecessary. Insisting on the techie version serves only to make you look like a pretentious tightwad.
When it comes to conceptual errors, I mean the way he, in one situation when discussing 3D modeling/rendering, confuses alpha channels with bump maps. Alpha channels control the transparency of a material, bump maps make the bumps. Again, even if what he said was correct (I'm no expert, maybe bump maps really are alpha channels in a stricter sense), the fact remains that NO ONE speaks this way, no manuals define things this way, nor do special interest technical books or training videos. If you ask someone to put an image with the letter H in the alpha channel of a material, and place that material on a surface, you're going to get a big H-shaped hole in your surface, not an H-shaped bump on top of it.
He also flip-flops between describing image dimensions as width by height and describing them as height by width. Even though the vast majority uses the width by height description, something I agree and feel comfortable with, I would hardly mind him using the other if he were the least bit consistent. He's back and forth throughout the course of the text, and it can be quite disorienting (not "disorientating", you'll note).
Then we have the more basic structural errors. The only way to adequately demonstrate this phenomenon is to provide a fictional example (note that he is NEVER this blatant, and doesn't even touch on this subject):
"The default lens package included with Camera X is absolutely wonderful, but the lens they give you along with Camera X is pretty darn great."
See what I mean? That he repeats himself, saying the SAME thing about the SAME product in the course of one sentence for no reason is disturbing enough; more troubling is his use of "but" when he should be using "and". If you're going to tack a positive comment about an object on to an existing comment about the same object that's already positive, you use "and".
There's also a tendency to use common words and phrases over and over and over again. I do this all the time (my parenthetic comments in this review, for example), but in a professionally published work? You'd think somebody would do a "Count Instances" in their word processor.
Things like that contribute to an overall sense of "wha...?" when reading this book. At first I attributed this stuff to an absolutely abysmal proofreader, but firstly, I own several other books from MWP which sound far better. Secondly, as we reach the end of this book, we start to see more and more quotes--eventually interviews, and entire guest-written chapters--from others in the field, typically people the author has worked with and known for some time. None of their writing exhibits this behavior.
In short, this book is like certain types of music and movies: the content may be great, but the way it's put together makes you a bit nauseous. You don't know exactly why, but sounds with certain frequencies and/or images with certain kinds of movement make you sick, no matter how moving the song/film may very well be.
It IS worth full price, it IS worth reading several times over, and you WILL get something out of it whether you want this hobby to become a career or not. The errors are not world-ending, and the overall idea gets through loud and clear.
They're big enough for someone like me, though, to feel that something, however small, is missing.
Best book on the subject.......2004-04-01
I reviewed this Book for High Definition Magazine in 2003. I was so impressed that I thought this information should be available generally.
Back in the 60's Scott Billups would have been known as a video freak. The subtitle of his book Digital Moviemaking: "All the skill, techniques and moxie you'll need to turn your passion into a career": also betrays his understanding that digital moviemaking is a business as well as a technicians paradise - and I have to say right here right now, what this man don't know about video - ain't worth knowin' !
"Those who know will always have a job, those who know why, will be in charge." From Chapter two.
Digital Moviemaking is a very readable book and there are a plethora of technical details for all but the most seriously anoraked of our readers. Scott's approach to High Definition is to take you on a journey of understanding through the underlying principles of the digital realm.
There are many many technical descriptions that allow the reader easily into a highly complex digital world - He begins with a basic description of the fundamentals of analogue to digital conversion, through the systems of compression, up through DV all the way to High Definition. This is a necessary path because the understanding of High Definition issues lay within the undergrowth of simple digital encoding and compression. I haven't come across a book as clear as this one before.
Scott is the Richard Dawkins of digital technicalities - he can make even the most dense technical information fun:
"While RGB theoretically creates the most robust ITU-R 601 signal, the most common reference to 601 as colour difference, component digital video, sampled at 4:2:2 at 13.5 mhz with 720 luminance samples per active line, digitized at either 8 - or 10 bit.
Whew, it hurt me to write that too".
This fundamentally technical book actually made me understand and laugh out loud ! What's more, it's an energetic enough book to begin with image capture, work its way through the editing process, then out and onto film - and beyond. At the end there's a reference section in which you'll find an extremely concise guide for the newly fledged HD Cinematographer.
But this book is also a rant against Hollywood which is fun in itself and Scott is on a mission to re-educate and re-inform his audience who he sees as enthusiastic but slightly wayward idealists who want to invade Hollywood's hallowed avenues without the right information.
"Just imagine if the snakes that slither through the gutters of Hollywood actually had a say in matters. They'd glut the market, take their booty, and retire in a heartbeat. You know it, I know it, and they know it."
Scott has worked with many great filmmakers, including David Lynch, and he was even assistant to the great James Wong Howe, so you know that what he's got to say has real authority, though I get the feeling he'd poo poo that suggestion himself. He's also at the very cutting edge of invention - he'll think nothing of capturing bits of a movie he's shooting on 35mm, on his laptop from a small digital camera for later compositing at the edit with the 35mm footage.
Digital Moviemaking is a great way into digital video and High Definition in so many areas, and Scott insists you understand why you're making the choices you're making, and why you should let craft and technique lead you in the end.
As Jerry Rubin, and possibly Scott too might advocate - read it, even if you have to "steal this book!"
Book Description
The German Cinema Book brings together film specialists from Europe and the United States to explore German film history from the late nineteenth to the early twenty-first centuries. This comprehensive collection reevaluates traditional areas of interest in German cinema (such as Weimar cinema, Nazi pro-paganda, New German Cinema) and complements this with a fresh look at hitherto neglected aspects, including early cinema, the cinema of the GDR, popular genre traditions, questions of national cinema and identity, and German film's transnational connections to Hollywood, as well as to exile and migrant cinemas. Corresponding to wider shifts in critical debates, the book places particular emphasis on genres and stars in the wider context of state and industry at home and abroad.
The collection comprises five thematic sections:
Popular Cinema
Stars
Institutional and Cultural Frameworks
Cultural Politics
Transnational Connections
Each section follows an internal chronological order enabling the reader to perceive the continuities of German cinema across different decades. They are accompanied by a substantial bibliography and resources section detailing print and online sources for films and related materials.
Broad-ranging and accessible, The German Cinema Book will appeal to a wide variety of readers, from students and scholars of German Studies, Film and Cultural Studies to the dedicated film enthusiast.
Book Description
The School of Sound is a unique annual event exploring the use of sound in film, which has attracted practitioners, academics and artists from around the world. Soundscape is the first compendium of the event's presentations that investigate the modern soundtrack and the ways sound combines with image in both art and entertainment. The many contributors include directors David Lynch and Mike Figgis; Oscar-winning sound designer Walter Murch (Apocalypse Now); composer Carter Burwell (Coen Brothers); theorists Laura Mulvey and Michel Chion; critic Peter Wollen; film-makers Mani Kaul and Peter Kubelka; music producer Manfred Eicher and poet Tom Paulin.
Customer Reviews:
Lots of Sound Ideas.......2003-09-23
I would guess that if you are a "sound professional" you will likely be familiar with much of the content in this book, or at least will have well-developed opinions about what's discussed. For non-professionals like me, this book provided a wealth of theories, ideas, explanations, suggestions, and examples--something I thought didn't exist until I ran across a reference to it in the art magazine, Modern Painters. It's not a "how-to book". Even so, it's a book that gave and will continue to give me plenty of ideas about different ways of integrating sound and SILENCE into my video projects. Even if you don't intent to make videos or movies yourself, this book will give you clearer notions about sound theory that will help crystallize what you might have already grasped intuitively but couldn't put into words, e.g., the notion that music is a vector. It's also about how the sound track for some well know movies was developed, Apocalypse Now, for example, and how the movie business works with regard to sound and the music score.
There are chapters by David Lynch, Walter Murch, Randy Thom and other accomplished editors, directors, and sound designers. Just the chapters by Murch, Lynch, and Thom are worth the cost of the book! There are a couple of pretentious chapter authors but they are quickly discovered within the first few pages of reading and can then be easily skipped without consequence. Similar to silence, these dud chapters stand out all the more because they're in the context of such outstanding ones.
Here are a few of the conclusions I came away with after reading the book. Silence can exist only to the extent that the possibility of sound is present. Silence is a metaphor for thought and can also induce thought in the viewer. Music sound loops can be disconcerting because they don't lead us anywhere. It's not just my hearing, many Hollywood movies have poorly produced sound tracks! Sound is 50% (or more) of a movie. Sound can determine what you see and vice versa. Dialog needs to be understood even if it's not important for the story.
If you are making videos or movies of any kind or are an artist interested in incorporating sound into you work, this book is a real find. The same is true if you are just interested in film or if you are a movie reviewer. It's one of those books that caused me to both see and hear movies, and the world for that matter, in a different and more enchanting way. What more could a person ask of any book.
Book Description
September 11, 2001, will be eternally frozen in our memories. Where we were; what we thought; what we felt; what we heard; and especially what we saw will stay with us forever. It was a day -- defined for each of us in an instant -- that we will share with our children and our grandchildren in the years to come. In words and images -- and on a full-length DVD -- What We Saw captures those moments.
Dan Rather's Introduction sets the stage for an introspective look at the catastrophic events of September 11. What We Saw follows a day that started out like any other but ended in silence and sorrow -- from the first interviews by phone with eyewitnesses to a plane crashing into Tower 1 of the World Trade Center to the Towers of Light tribute, six months later.
As the world came to a halt that September morning, Dan Rather and his colleagues at CBS News worked tirelessly to provide detailed, accurate coverage of that day and the days that followed. Not only are the events that shook America's biggest city and its capital closely documented, but the tragedies that occurred elsewhere are also examined, from the crash of United Airlines Flight 93 outside Shanksville, Pennsylvania, to the repercussions felt in a small New Jersey commuter town.
Among the contributors are Jules Naudet, a French filmmaker who was working on a documentary about New York City firefighters when his subjects were called into service that September morning; Newsweek's Anna Quindlen, whose thoughts turn to a young family likely headed on vacation aboard United Airlines Flight 175, The New Republic's David Grann, who captures the feeling of hopelessness felt by the families searching for missing loved ones; and CBS's Ed Bradley, who describes the volunteers who flocked to Manhattan with an overwhelming desire to help.
Each moment of September 11 and its aftermath is portrayed with candor and honesty by the CBS News correspondents, photographers, camera operators, and journalists who were there. What We Saw is an invaluable documentary of a day that changed our world forever.
Customer Reviews:
"America-it's not something you get for free;it's something you have to fight for.".......2006-12-08
"And from the ruins,that yellow cloud,made of pain and death and
religious zealotry,created by twisted minds and hardened hearts,kept
rising over the city.The stentch of it poisoned the air.Sirens wailed
their terrible song. But that sinister cloud would not prevail. The
world's God-sick party of death would not win. There on the ground,on
the day after our worst calamity,were the toughest people anywhere on
Earth. They would remove that smoke from our sky. And when it was
gone,they would work,as they always do,for life itself. They would
drink. They would sing. They would dance."
There have been many books published on the Terrorist attack on America on 9/11;and I have several. However; if one wants to have one book that covers it as well as any,I strongly recommend this book and the excellent DVD that is included with it.The DVD is a full-length account lasting approximately 90 minutes.It is one thing to read the personal accounts of those who took part in the firefighting,policing,search and rescue, volunteering and particularly those who lost friends and loved ones;but,is the only way to hear it asnd in their own words . It is the only way to appreciate the love,heartbreak,and determination to continue with their lives.
Everyone should own a copy of this package;re-read and re-listen to it often.This declaration of war by Terrorists ,and the people who sympathize
with them, is only the early stage of a long time onslaught on Democracy,Freedom and Liberty that will continue for years. As long and terrible that this will be,the one thing that is for sure is; Good will win out over Evil-- it will not be easy,but nothing worthwhile ever is.
The people you hear from in this book and DVD took the first big hit in this war and are all heros.Here we see Americans at their very best.
As I wrire this review,I am reminded that today is the 65th anniversity
of of that infamous day on December 7,1941 ; when another evil empire attacked Pearl Harbor. Good won over Evil and will do so again.
A great reminder of what happened........2006-09-07
The text in the book is not that great, the pictures on the other hand make up for everything the text lacks. If pictures are worth 1000 words then these are the Proverbial "Encyclopedia Britanica" of Sept. 11, 2001. They find and illuminate the wide range of feelings and reactions that were brought out in the aftermath from horror to pain to fear to pride in out emergency service workers and even those who were not emergency service workers but showed up to volunteer. The DVD in my opinion is the real gem here, I have the DVDs 9/11 intended to be a documentary about a rookie fire fighter that caught the only existing footage of the first plane hitting the trade center, CNN Tribute - America Remembers - The Events of September 11th (Commemorative Edition)which is a collection of video from cnn coverage of the attacks and interviews done afterwards, and then there is the What We Saw DVD, this one is similar to the CNN DVD but does something different, it brings the loved and lost into our hearts and reminds us of the heavy price that we paid that day. Like both of the before mentioned DVDs this one brought me to tears, but there is something different about this one. It is painful to watch but its our duty to see it, because we need to be reminded so we don't let it happen again.
a fine dvd and book about 9/11.......2006-05-04
while i admit the dvd included here isn't as good as the cnn one,it's still good but the book is the thing here.
the book is wonderful and when my boys ask about this i'll use this book and the other dvd's to help them understand just how big and sad that day was. everyone should have this in their collection.
AMERICANS SHOULD REMEMBER 9/11.......2006-04-03
In the months following this horrific events, Americans have proved that they can be easily controlled by fear and more than eager to give up freedoms to be free. Americans need to take a hard look of how they have allowed america to desintigrate by the hands of an illegitimate president, because Bush has garanteed america many more 9/11s by his illegal war in Iraq
wake up America before you find yourself in a dictatorship
a must for all americans,so we never forget.......2006-02-10
i bought this book and dvd and i am so glad i did. this was one of the worst days in american history and this print and video record is very much needed. it catches all the angles of this horriable day. a must for every american.
Book Description
In Film and Television After 9/11, editor Wheeler Winston Dixon and eleven other distinguished film scholars discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how moviemaking has changed to reflect the new world climate.
While some contemporary films offer escapism, much of mainstream American cinema since 9/11 is centered on the desire for a “just war” in which military reprisals and escalation of warfare appear to be both inevitable and justified. Films of 2002 such as Black Hawk Down, Collateral Damage, and We Were Soldiers demonstrate a renewed audience appetite for narratives of conflict, reminiscent of the wave of filmmaking that surrounded American involvement in World War II.
The attacks on the World Trade Center and the Pentagon galvanized the American public initially, yet film critics wonder how this will play out over time. Film and Television After 9/11 is the first book to provide original insights into topics ranging from the international reception of post-9/11 American cinema, re-viewing films of our shared cinematic past in light of the attacks, and exploring parallels between post-9/11 cinema and World War II-era productions.
Customer Reviews:
my son used this book for a social studies project on 9/11.......2005-04-18
and he took finalist honors in the state competition....this book is very impressive with it's breadth and depth of study....definitely worthwhile reading
Book Description
The Time Out Film guide, now in its 14th edition, stands out for its incisive, independent-minded reviews. Featuring full-color photos throughout, this edition contains more than 16,000 reviews, all written by knowledgeable critics with a passion for film. Each review contains major technical credits, country of origin, running time, color code, copyright year, and cast list. Icons identify the top 100 films named in both readers' and Cinema Centenary polls. Multiple appendixes classify titles by category and country, while comprehensive indexes — expanded for this edition — identify award-winning films, plus the works of important actors and every director covered in the guide. Equally useful as an authoritative reference and for browsing, this guide contains an updated website directory and listings of the 2005 Oscars and BAFTAs, along with the latest Berlin, Cannes, and Venice winners.
Customer Reviews:
The 14th edition of the quirky British film guide.......2006-03-21
I have about five or six film and video guides I consistently use for reference, and the Time Out Film Guide is certainly one of the better ones and among the most interesting. I would not recommend it for someone just looking for one all-purpose guide because it's fairly quirky. It spotlights fairly obscure actors or films (and not always good ones either--they feel obligated to highlight interesting weak films as well as strong ones), and its biases can take some getting used to, especially if you're not from the UK. (The editors' marked prejudices and beliefs about Americans are often hilarious, and only sometimes intentionally.) But the reviews are written with intelligence and care, and are never bland, and the series of lists at the back of the book (filmographies for various important directors and actors, and lists of films grouped around key themes) are very handy.
Book Description
John Willis' Screen World has become the definitive reference for any film library. Each volume includes every significant U.S. and international film released during that year as well as complete filmographies, capsule plot summaries, cast and characters, credits, production company, month released, rating, and running time. You'll also find biographical entries - a prices reference for over 2,000 living stars, including real name, school, place and date of birth. A comprehensive index makes this the finest film publication that any film lover could own.
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