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Once the creator and star of Yiddish musical films in Poland between the wars, Raisel is now a grandmother (Bubbie) in ’70s New York. Bubbie longs to tell the stories of her acting troupe’s successes and heroism to her granddaughter Jenny. Sadly, her TV-comedy-writer daughter, Red, insists on leaving the past behind, unless Bubbie will talk about the events that have plagued them both since Red’s childhood.
Retold Afro-American folktales of animals, fantasy, the supernatural, and desire for freedom, born of the sorrow of the slaves, but passed on in hope.
Getting the picture, constructing (and deconstructing) the picture, finding the picture, viewing the picture, being in the picture, changing the pictures--these are all phrases that apply to the fascinating world of 'putting people in the picture' in visual research within the Social Sciences. Putting People in the Picture: Visual Methodologies for Social Change focuses on the ways in which researchers, practitioners and activists are using such techniques as photo voice, collaborative video, drawings and other visual and arts-based tools as modes of inquiry, as modes of representation and as modes of disseminating findings in social research. The various chapters address methodological, analytical, interpretive, aesthetic, technical and ethical concerns in using visual methodologies in work with young people, teachers, community health care workers--and even the self-as-researcher. The range of issues addressed in the work is broad, and includes work in the areas of HIV & AIDS, schooling, poverty, gender violence, race, and children's visions for the future. While the studies are situated within a variety of social contexts, the focus is primarily on work in Southern Africa. The book takes up some of the theoretical and practical challenges offered by Visual Sociology, Image-based Research, Media Studies, Rural Development, and Community-based and Participatory Research, and in so doing offers audiences an array of visual approaches to studying and bringing about social change.
2017 Gold Moonbeam Children's Book Award: For dedication to children’s books and literacy and for inspired writing, illustrating and publishing. The world can be a scary place. Anxious adults want children to be aware of dangers, but shouldn’t kids be aware of kindness too? Michael Leannah wrote Most People as an antidote to the scary words and images kids hear and see every day. Jennifer Morris’s emotive, diverting characters provide the perfect complement to Leannah’s words, leading us through the crowded streets of an urban day in the company of two pairs of siblings (one of color). We see what they see: the hulking dude with tattoos and chains assisting an elderly lady onto the bus; the Goth teenager with piercings and purple Mohawk returning a lost wallet to its owner; and the myriad interactions of daily existence, most of them well intended. Most People is a courageous, constructive response to the dystopian world of the news media. Fountas & Pinnell Level M
We are Wampanoags, People of the Breaking Day. Nippa'uus the Sun, in his journey through the sky, warms us first as he rises over the rim of the sea. At his birth each new morning we say, "Thank you, Nippa'uus, for returning to us with your warmth and light and beauty." But it is Kiehtan, the Great Spirit, who made us all: we, the two-legged who stand tall, and the four-legged; those that swim and those that fly and the little people who crawl; and flowers and trees and rocks. He made us all, brothers sharing the earth. So begins the story of the Wampanoag people, the tribe that lived in southeastern Massachusetts at the time the Pilgrims landed. In this companion book to The Pilgrims of Plimoth, winner of the Boston Globe-Horn Book Award for nonfiction, Marcia Sewall recreates the world of the Wampanoags, the People of the Breaking Day. In a voice that evokes the pride and natural poetry of these native people and in paintings glowing with life and light, the distinguished author-illustrator presents another view of an important time in American history, a time before the meeting of two very different cultures.
The book takes up some of the theoretical and practical challenges offered by Visual Sociology, Image-based Research, Media Studies, Rural Development, and Community-based and Participatory Research, and in so doing offers audiences an array of visual approaches to studying and bringing about social change.
“THE PEOPLE COULD FLY,” the title story in Virginia Hamilton’s prize-winning American Black folktale collection, is a fantasy tale of the slaves who possessed the ancient magic words that enabled them to literally fly away to freedom. And it is a moving tale of those who did not have the opportunity to “fly” away, who remained slaves with only their imaginations to set them free as they told and retold this tale. Leo and Diane Dillon have created powerful new illustrations in full color for every page of this picture book presentation of Virginia Hamilton’s most beloved tale. The author’s original historical note as well as her previously unpublished notes are included. Awards for The People Could Fly collection: A Coretta Scott King Award A Booklist Children’s Editors’ Choice A School Library Journal Best Books of the Year A Horn Book Fanfare An ALA Notable Book An NCTE Teachers’ Choice A New York Times Best Illustrated Children’s Books of the Year
Design is the single most important factor in creating a successful photograph. The ability to see the potential for a strong picture and then organize the graphic elements into an effective, compelling composition has always been one of the key skills in making photographs. Digital photography has brought a new, exciting aspect to design - first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-editing tools make it possible to alter and enhance the design after the shutter has been pressed. This has had a profound effect on the way digital photographers take pictures. Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs. The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.
Reflecting on how a student’s parents met because of a fly ball to center field in a summer softball game, author Robert Root wondered how the lives of that student’s parents and of the student himself would have changed had the batter bunted or struck out. Haunted by this pure example of happenstance, he began to ponder his own existence, dependent in part on geology (the Niagara Escarpment) and history (the Erie Canal). He wondered how happenstance had influenced the course of his parents’ lives, in particular their marriages (they married and divorced each other twice), and consequently the shaping of his identity. Happenstance investigates the effects of that phenomenon and choice on one man’s life. Root explores this theme in interwoven strands of narrative, interpretation, and reflection. One strand, “The Hundred Days,” follows his attempt to write one hundred journal entries, each about a different day in his life, to recover memories of specific moments or collections of moments. In the strand headed “Album,” he examines and interprets old family photographs in light of the way he reads them in the present, as someone now privy to a family secret that directed his and his siblings’ lives without their knowledge. Interspersed among these brief interpretations and narratives are reflections on happenstance and choice, a sequence contemplating their effect on his life and perhaps on all our lives. Through juxtaposition and accumulation, the book’s incremental unraveling of meaning imitates the process of unexpected epiphanies and gradual self-discovery in anyone’s life. By revisiting individual days, giving voice to photographs that mutely preserve family moments, and reflecting on the way happenstance and choice determine the directions lives take, Robert Root generates a meditation on identity anchored in an album in words and images of a mid-twentieth-century life.