Book Description
The most comprehensive book on the market, SIGHT SOUND MOTION/APPLIED MEDIA AESTHETICS describes the major aesthetic image elements--light and color, space, time-motion, and sound--and how they are used in television and film. Zettl's comprehensive coverage of aesthetic theory and how that theory can be successfully applied place this text in a class by itself. This edition is richly illustrated with visuals that often draw on traditional art forms, such as painting, sculpture, and dance.
Customer Reviews:
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
The Filmmaker's Bible of Aesthetics or What Works and Why.......2000-11-04
This is probably the most important textbook a film production student can have on his/her shelf. NOT for how to work with actors or how to light a scene, but for understanding the underlying reasons of why things work due to our learned aesthetics and Western sensibilities.
Professor Herbert Zettl has written the most concise manual on why we has film viewers percieve things the way we do. He explains in detail (and layman's terms) how our aesthetics have been formed to interpret the dynamic medium of film and television.
How editing of action from shot to shot creates the illusion of continuous motion. How stagelines work so not to give the effect that your actor is jumping around from one side of the scene to the other. How to crop your shot BETWEEN the bodies natural cut-off points (i.e. neck, elbow, waist) to prevent the actor from looking like a disembodied head or torso.
This book is cover-to-cover insights into what we as viewers take for granted when we watch a good filmmaker's work, but may not consider when faced with the daunting task of mounting a film production and the on-set "reality" problems that dominate the filmmaker's mind when shooting a film.
I first read this book when I was in film school twenty years ago. Since then I have directed many professional film productions and I still review it before starting a new one to refresh myself.
Just as Syd Field's book "Screenplay" is the bible for screenwriting, "Sight Sound Motion" is the bible on understanding what works in film/video and why.
Book Description
Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.
Customer Reviews:
Excellent Theorizing On Art.......2003-05-05
As a reviewer below stated, this is a very interesting book that treats art as a means of recapturing the experience of life and trasmitting that experience to the audience. He captures a number of concepts established earlier by Leo Tolstoy in his "What is Art?" and delves deeper into them, expounding on their more practical and less esoteric uses.
Dewey, however, certainly earns his title as a pragmatist. His wording is complicated and, at times, careful. It is difficult to pin specific sayings or doctrines to him. However, once the task is completed, he has a great deal of important things to say about art and artistic experience.
this book is kickin!.......2000-08-29
if you are an artist this book will blow your mind.
it is pretty theoretical, but if you can get through the first 20 pages.. and get into his vibe.. it's BEAUTIFUL.. (yum).
This is probably the most important book i've ever read. You trust katie, you! you buy! you buy!!
One of the great books on art theory........2000-04-07
Although somewhat dated in that what Dewey novelly stated long ago, we now accept as obvious, this is a great book to gain an understanding of art both as a producer and as a spectator.
The central theme is that life is an experience, and that the goal of art is to recapture that experience. Hence, a painting of a flower is only valuable in the way that it captures the essence of a flower, or the experience of viewing a flower. The viewing of a painting must also provide some of the experience of making that painting ( its process ).
If you can manage to finish the book ( the style is a bit archaic ), the experience is worth the effort.
Average customer rating:
|
Style, Society and Person: Archaeological and Ethnological Perspectives (Interdisciplinary Contributions to Archaeology)
Manufacturer: Springer
ProductGroup: Book
Binding: Hardcover
 Cultural
| Anthropology
| Social Sciences
| Nonfiction
| Subjects
| Books
General
| Social Sciences
| Nonfiction
| Subjects
| Books
General
| Sociology
| Social Sciences
| Nonfiction
| Subjects
| Books
Culture
| Sociology
| Social Sciences
| Nonfiction
| Subjects
| Books
General
| Archaeology
| Social Sciences
| Nonfiction
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Look Inside Nonfiction Books
| Trip
| Specialty Stores
| Books
Look Inside Science Books
| Trip
| Specialty Stores
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Arts & Photography
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Nonfiction
| Qualifying Textbooks - Fall 2007
| Stores
| Books
ASIN: 0306448432 |
Book Description
Style, Society, and Person integrates the diverse current and past understandings of the causes of style in material culture. It comprehensively surveys the many factors that cause style; reviews theories that address these factors; builds and tests a unifying framework for integrating the theories; and illustrates the framework with detailed analyses of archaeological and ethnographic data ranging from simple to complex societies. Archaeologists, sociocultural anthropologists, and educators will appreciate the unique unifying approach this book takes to developing style theory.
Average customer rating:
|
The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946
Victor Margolin
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Paperback
General
| History & Criticism
| Arts & Photography
| Subjects
| Books
European
| Regional
| History & Criticism
| Arts & Photography
| Subjects
| Books
Modern
| Schools, Periods & Styles
| Arts & Photography
| Subjects
| Books
Rodchenko, Aleksandr
| ( P-R )
| Artists, A-Z
| Arts & Photography
| Subjects
| Books
Lissitzky, El
| ( J-L )
| Artists, A-Z
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Russia
| History
| Subjects
| Books
Sociology
| Social Sciences
| Nonfiction
| Subjects
| Books
| AIDS
| Abuse
| Adults
| Aging
| Children
| Class
| Communities
| Culture
| Death
| General
| History
| Leisure
| Marriage & Family
| Medicine
| Men
| Occupational
| Race Relations
| Religion
| Research & Measurement
| Rural
| Social Groups
| Social Situations
| Social Theory
| Suburban
| Urban
| Women
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Arts & Photography
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Nonfiction
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Similar Items:
-
The Russian Avant-Garde Book 1910-1934
-
The Non-Objective World: The Manifesto of Suprematism
-
Alexander Rodchenko: Painting, Drawing, Collage, Design, Photography
-
Imagine No Possessions: The Socialist Objects of Russian Constructivism
-
El Lissitzky: Beyond the Abstract Cabinet: Photography, Design, Collaboration
ASIN: 0226505162 |
Book Description
Following World War I, a new artistic-social avant-garde emerged with the ambition to engage the artist in the building of social life. Through close readings of the works of Alexander Rodchenko, El Lissitzky, and László Moholy-Nagy whose careers covered a broad range of artistic practices and political situations, Victor Margolin examines the way these three artists negotiated the changing relations between their social ideals and the political realities they confronted. Focusing on the difficult relationship between art and social change, Margolin brings important new insights to the understanding of the avant-garde's role in a period of great political complexity.
"An ambitious effort. This book puts the masters of European Modernism into perfect focus as inventors, propagators, and practitioners of a visual language that continues to hold sway over contemporary graphic style."—Steven Heller
"Worth the wait. . . . Margolin usefully presents what he calls the 'failed hope' of this movement in this valuable effort."—Publishers Weekly
Book Description
In Materializing New Media, Anna Munster offers an alternative aesthetic genealogy for digital culture. Eschewing the prevailing Cartesian aesthetic that aligns the digital with the disembodied, the formless, and the placeless, Munster seeks to "materialize" digital culture by demonstrating that its aesthetics have reconfigured bodily experience and reconceived materiality.
Her topics range from artistic experiments in body-computer interfaces to the impact that corporeal interaction and geopolitical circumstances have on producing new media art and culture. She argues that new media, materiality, perception, and artistic practices now mutually constitute "information aesthetics." Information aesthetics is concerned with new modes of sensory engagement in which distributed spaces and temporal variation play crucial roles. In analyzing the experiments that new media art performs with the materiality of space and time, Munster demonstrates how new media has likewise changed our bodies and those of others in global information culture.
Materializing New Media calls for a re-examination of the roles of both body and affect in their relation to the virtual and to abstract codes of information. It offers a nonlinear approach to aesthetics and art history based on a concept of "folding" that can discern certain kinds of proximities and continuations across distances in time (in particular between the Baroque and the digital). Finally, it analyzes digital culture through a logic of the differential rather than of the binary. This allows the author to overcome a habit of futurism, which until now has plagued analyses of new media art and culture. Technology is now not seen as surpassing the human body but continually reconfiguring it and constitutive of it.
Customer Reviews:
Dazzling.......2007-04-06
This book is a virtuoso performance in its feminist exploration of the concerns of new media and the concept of embodiment.
Amazon.com
Curtis White's The Middle Mind: Why Americans Don't Think for Themselves--which grew from a 2002 Harper's article—examines as its titular object the dominant American liberal, pseudo-intellectual consciousness. "The Middle Mind" disdains hard thinking and true examination of corporate and political forces that act upon it. In the book, White dilates on his notion of an American Middle Mind to imagine a world beyond it, but he frequently gets lost on his journey. He finds three sources for this American malaise: the entertainment industry, academic orthodoxy, and political ideology. But, as in the original magazine piece, the figures he picks to condemn within this triumvirate are a bit surprising, even while his attacks are unremitting. NPR's Terry Gross, for example, is characterized as one whose work is "useless for the purposes of intelligence," and her show is dismissed as a "pornographic farce." In his critiques, White claims to be resisting the classic high-brow/low-brow cultural distinctions; or, rather, he sees the Middle Mind as having absorbed them. But his frequent allusions to Wallace Stevens, Ezra Pound, and high Modernism long for a world that never was, a world of art and political resistance that was somehow accessible in its full complexity to all of America. While White wants a creative, intelligent, politically engaged American mass culture, his exemplars look remarkably like high culture icons and few modern intellectuals are left standing (notably Howard Zinn, Noam Chomsky, and Bill Moyers). By the end, his call for a "pragmatic sublime" diffuses into vague, postmodern-theory-laden discussion of artistic formalism and a celebration of David Lynch's film Blue Velvet as a model for resistance. In this context of exclusivity, Terry Gross's inclusive "Middle Mind" seems the more open space for true discourse. --Patrick O'Kelley
Book Description
Acclaimed social critic Curtis White describes an all-encompassing and little-noticed force taking over our culture and our lives that he calls the Middle Mind: the current failure of the American imagination in the media, politics, education, art, technology, and religion. Irreverent, provocative, and far-reaching, White presents a clear vision of this dangerous mindset that threatens America's intellectual and cultural freedoms, concluding with an imperative to reawaken and unleash the once powerful American imagination.
The Middle Mind is pragmatic, plainspoken, populist, contemptuous of the Right's narrowness, and incredulous before the Left's convolutions. It wants to protect the Arctic National Wildlife Refuge, and has bought an SUV with the intent of visiting it. It even understands in some indistinct way how that very SUV spells the Arctic's doom.
Customer Reviews:
Proof that at least a few Americans think for themselves.......2007-10-03
Despite the fact that White's indictment of Terry Gross is somewhat one-sided and superficial (he ought to have devoted an entire chapter to her and her radio show), there is much truth in his complaints about her. Academic Cultural Studies deserves an even stronger negative critique here than White provides, although it must be said than any honest assessment of it would have to include an acknowledgment of the various useful insights and interpretations that have come out of that thick and tangled intellectual forest. My favorite discussion, and perhaps the most urgently needed, is his skewering of the awful movie Saving Private Ryan.
DNF.......2007-08-08
a rambling rant about modern culture. Any positive points are lost in the angry rant
a brilliant mind.......2007-04-09
White is clearly a very intelligent writer, but he is also a cultural snob. His attacks on Terry Gross are just ridiculous and to chose her as your enemy at time when the Bushes, Cheneys, and Roves rule the country is patently stupid and banal.
He started it!.......2006-12-02
Before I read this book, I thought Wesley Clark was going to save the world.
I thought Dave Grohl was a great musician.
Owen Wilson was my favorite actor.
I worshiped Douglas Adams.
For me, these opinions were very well-defined, and what's more, I believed they made me a unique person. I do not wish to explain how the change came about, because part of this book's appeal is the lack of any single, main effect it produces on the reader. What's it about? If you don't know, find out for yourself. You still might not know, but that's okay; I cannot guarantee it will work its spell on you. This is not an issue of your "worthiness" to understand it, but does have something to do with your curiosity. If you're a curious individual like myself, I strongly recommend you check it out. I cannot speak for the rest. Much as I would like to say, "You know who you are," I don't think that's necessarily true.
Not an easy read, but worthwhile.......2006-09-29
Without delving into the details of the work: this is an excellent subject and an interesting book, but not an easy read. It demands above-average levels of attention and focus. I had to think while reading it, and that is just not pleasant.
Still, I highly recommend it.
The essay in Harper's was great...and is now available on-line (to subscribers).
Average customer rating:
|
The European Avant-garde: 1900-1940 (Cultural History of Literature)
Andrew J. Webber
Manufacturer: Polity Press
ProductGroup: Book
Binding: Paperback
Modern
| Schools, Periods & Styles
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
General
| Literature & Fiction
| Subjects
| Books
| Classics
| Comic
| Contemporary
| Literary
Aesthetics
| Philosophy
| Nonfiction
| Subjects
| Books
Cultural
| Anthropology
| Social Sciences
| Nonfiction
| Subjects
| Books
General
| Sociology
| Social Sciences
| Nonfiction
| Subjects
| Books
Look Inside Fiction Books
| Trip
| Specialty Stores
| Books
ASIN: 0745627056 |
Book Description
This book offers an informative and accessible cultural history of the European avant-garde in its early twentieth-century heyday. It provides comparative coverage of cultural experimentation across the major European languages, including English, French, German, Russian, Spanish and Italian. Andrew Webber presents striking examples to illustrate a time of unprecedented experiment and energetic performance in all aspects of culture. Readings of some of the most important and characteristic avant-garde texts, pictures and films are set against some of the key developments of the period: advances in technology and psychology; the rise of radical politics; the cultural ferment of the modern metropolis; and the upheaval in issues of gender and sexuality. The authorrsquo;s mediation between a variety of cultural forms, combining political and psychoanalytical modes of understanding, evokes the richness of the age in a manner that students will find both illuminating and provocative. This volume will be an excellent textbook for courses on the avant-garde in departments of comparative cultural studies, literature and film studies.
Book Description
This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious, and domestic spheres, where physical properties, the nature of their use, and the cultural formations in which they function make their "objectness" central to how we should understand them.
Customer Reviews:
Depth of Focus.......2007-02-26
I encountered this book while I was conducting research on the social exchange of photographs. Richard Chalfen one of the authors of the book suggested this gem to me. Overall, this volume and its authors collectively offer a deeper understanding of how people use photography in daily life. Contrary to most books on photography, this volume illuminates the ways photographs are cultural objects that have a social life. They are formed/created and they are used, not just for the imagery, but to cement social relations between people. Unlike other books that strictly treat photographs in an aesthetic/art paradigm, this volume considers the vernacular life of photographs. As some of the chapters illustrate, photographs aren't only about the visual, but they serve as conduits and allow interaction outside of simply looking at an image as an observer. I highly recommend this book to anyone who is interested in alternative explanations and observations about visual cultural practices.
Book Description
Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.
This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands--demands on society, art, and all the governing structures of everyday life--seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris--based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and '60s; the rioting students and workers of May '68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage "Anarchy in the U.K." and "God Save the Queen."
Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.
Customer Reviews:
a primer for the uninitiated.......2006-05-30
a close, "academic" reading of L.T. would render great many imperfections-factitious or otherwise. However, this is a freely associative account offered as post-structural fodder. When written in ('90) there was little stateside interest in situationism/lettrism/fluxus et. and scholars of the a.garde (i can only think of a handful) were slow to consider art/lit. movements beyond the hegelian arc. yes I had read "society of the spectacle" , knew of the lettrists work, dada, lautremont bla bla-all very predictable stuff for those in the "avant know"-but what I found alluring about L.T. was its anti-academic, messy essence- a welcome shift from hackneyed scholasticism.
A Catalog of Style Leaps........2006-02-11
I agree that this book is a page turner. A great balance of text and contexts. If you are intrigued by it's subject matter (Pistols/Dada/etc..) you'll have a hard time putting it down.
Reeling, heady, and fun.......2005-11-21
Don't start this one looking for a textbook - or anything bland, well-researched, and scholarly. The writing style fits well with the Punk idea - Marcus is clearly quite intelligent and well-read, but you can't possibly forget that he's a journalist at heart. The book is sensationalist at times, but that's allowed - I don't think he means for it to be read like a research paper. It's really long and free-associative, so it can be exhausting to read, but if you have the time and the interest it will certainly expand your view of the past century, and maybe change your ideas about the world in general just a little bit.
What do dada, the Orioles, and the Sex Pistols have in common?.......2005-09-13
Very little. But a sometimes interesting stroll through Greil Marcus's random brain farts.
"It's just a bunch of stuff that happened."
-- Homer Simpson
Brilliant, engaging take on a much-covered subject.......2005-07-09
Ludicrously dismissed by punks and academics alike (revealing something that links them: a profound lack of imagination), Lipstick Traces is the most audacious and brilliant book ever written about popular music, one that barely mentions its purported subject (punk rock). In his absurd attack on Marcus, Richard Meltzer quotes some critic's dismissal of LT as a failed version of his (Meltzer's) own The Aesthetics of Rock; in truth, that book itself is more like a failed version of itself, in which brilliant ideas are let down by virtually unreadable prose. What Marcus does is easy to miss at first, but it becomes obvious over the course of the book: he's not just trying to show us the Guy Debord in Johnny Rotten, but the Johnny Rotten in Guy Debord. And so a book devoted almost entirely to obscure artists, barely given a footnote in any "real" history of art or rock or whatever (the Pistols and the Clash aside, none of the punk bands Marcus admires - the Buzzcocks, the Slits, X-Ray Spex, Essential Logic, the Adverts, even Public Image Ltd. - will ever get much time on VH1) becomes unbelievably exciting and visceral.
Marcus doesn't bother writing much about the Sex Pistols themselves, though his descriptions of their records are almost more amazing than the records themselves. The first half of the book is a rambling screed, taking in subjects as unlikely as Adorno and Michael Jackson's Victory Tour. Marcus doesn't dumb down anything he takes on, and he shuttles back and forth between seemingly unrelated topics so often that some readers may be frustrated. Persevere, and you'll find that Marcus's writing, imposing at first, is ultimately vibrant, witty and illuminating. The second half is a much more straightforward account of the "heroes" of Marcus's vision - Tristan Tzara, Michel Mourre, Debord - though he still has room for a lovely meditation on the Orioles' 1948 "It's Too Soon to Know," which he considers the first rock'n'roll record. What's fascinating about this section is that Marcus either digs up information on people you'd never hear of otherwise (Mourre, a deadbeat sometime-surrealist who made headlines around the world by marching into Notre Dame Church dressed as a monk to proclaim the death of God, may be the most intriguing character here) or writes about them in an engaging manner that you wouldn't find in a more traditionally scholarly book. Finally, in the epilogue, Marcus brings it all home, revealing for the first time why he decided to write a book about revolutions that never happened.
There is little historical connection between any of these figures, but that's the point - all these would-be revolutionaries really shared was a certain tone, and Marcus takes on something of that tone himself. It's the voice of Charlie Chaplin's tramp at the end of "The Great Dictator": someone willing, even for a moment, to address the entire world, to refuse to censor oneself, and to accept whatever consequences may follow.
Book Description
First published in 1916 in German, Rembrandt is one of Simmel's most important works. Is has never been translated into English--until now. Simmel attacks such questions as "What do we see in a work of Art?" and "What do Rembrandt's portraits tell us about human nature?" This is a major work by a major thinker concerning one of the world's most important painters.
Books:
- Signs of Life in the USA: Readings on Popular Culture for Writers
- Singing: The Mechanism and the Technic
- Smoke Your Firefighter Interview
- Something in the Air: Radio, Rock, and the Revolution That Shaped a Generation
- Sundown Towns: A Hidden Dimension of American Racism
- Surnames of Scotland : Their Origin, Meaning and History
- Teaching to Transgress: Education as the Practice of Freedom
- THAT EXTRA HALF AN INCH.
- The 100 Year Lifestyle: Dr. Plasker's Breakthrough Solution for Living Your Best Life - Every Day of Your Life!
- The Address Directory of Celebrities in Entertainment, Sports, Business & Politics, Second Edition
Books Index
Books Home
Recommended Books
- Ubuntu Linux for Non-Geeks: A Pain-Free, Project-Based, Get-Things-Done Guidebook
- Succession Planting for Year-Round Pleasure
- Robert Bresson: A Spiritual Style in Film
- Keeping a Nature Journal: Discover a Whole New Way of Seeing the World Around You
- Poker for Dummies
- The Girlfriends' Guide to Pregnancy
- Polar Bear, Polar Bear, What Do You Hear
- The Procrastinator's Guide to Financial Security: How Anyone Over 40 Can Still Build a Strong Portfo
- Intermediate Accounting: Analyzing and Solving Intermediate Accounting Problems Using Lotus 1-2-3 fo
- Natchez: The Houses and History of the Jewel of the Misissippi
Media Unlimited, Revised Edition: How the Torrent of Images and Sounds Overwhelms Our Lives
Anatomy of Film
Every Frame a Rembrandt: Art and Practice of Cinematography
Digital Moviemaking (Wadsworth Series in Broadcast and Production)
Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know
