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A fifth-grader uses her photographic memory, her mother, and her friend Eric to find a missing reel of a monster film they go to see.
A fifth-grader uses her photographic memory, her mother, and her friend Eric to find a missing reel of a monster film they go to see. Copyright © Libri GmbH. All rights reserved.
These chapter books introduce beginning readers to the detective mystery genre. Perfect for the Common Core, kids can problem-solve with Nate, using logical thinking to solve mysteries! Rosamond has started a book club called Rosamond’ s Ready Readers. But she claims there’s an evil page monster on the loose. This monster has ripped and ruined a page of the cookbook Rosamond uses to make treats for the club. Nate the Great and his dog, Sludge, go to the next meeting of the book club . . . as undercover detectives. All the members are there. They are reading a book when one of Rosamond’s Ready Readers discovers that a page is missing. Has the evil page monster struck again? Nate and Sludge know they have a real case. Their search for evidence takes them to Rosamond’s kitchen and to a school book sale where a librarian gives them important clues. Can the pancake-eating detective and his bonemunching partner solve their hungriest case yet?
When Grandmother Pig comes for a visit, Oliver and Amanda learn just how much fun it is to have a grandmother in the house.
This book is significant for its concept of "openness"--the artist's decision to leave arrangements of some constituents of a work to the public or to chance--and for its anticipation of two themes of literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interaction between reader and text.
Thanks to Kate's mom, a sports reporter, cousins Mike Walsh and Kate Hopkins have tickets to the Red Sox game and All Access passes to Fenway Park. But as they're watching batting practice before the game, the lucky bat of Red Sox star slugger Big D
Annotation A study of the phenomenon of prophecy as documented in ancient Near Eastern texts and the Hebrew Bible as well as Greek sources, from the twenty-first century BCE to the second century CE.
What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator’s mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age.
This book is a guide to the expanding world of indie gaming. It helps readers to understand why indie games are so important to so many people in the entertainment industry. The book covers puzzlers, platformers, beat 'em ups, shoot 'em ups, role-playing, and strategy.
The collection of papers that makes up this book arises largely from the joint activities of two specialist groups of the British Computer Society, namely the Displays Group and the Computer Arts Society. Both these groups are now more than 20 years old and during the whole of this time have held regular, separate meetings. In recent years, however, the two groups have held a joint annual meeting at which presentations of mutual interest have been given and it is mainly from the last two of these that the present papers have been drawn. They fall naturally into four classes: visualisation, art, design and animation-although, as in all such cases, the boundaries between the classes are fuzzy and overlap inevitably occurs. Visualisation The graphic potential of computers has been recognised almost since computing was first used, but it is only comparatively recently that their possibilities as devices for the visualisation of complex. and largely ab stract phenomena has begun to be more fully appreciated. Some workers stress the need to be able to model photographic reality in order to assist in this task. They look to better algorithms and more resolution to achieve this end. Others-Alan Mackay for instance-suggest that it is "not just a matter of providing more and more pixels. It is a matter of providing congenial clues which employ to the greatest extent what we already know.