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Reel to Reel, Alan Shapiro’s twelfth collection of poetry, moves outward from the intimate spaces of family and romantic life to embrace not only the human realm of politics and culture but also the natural world, and even the outer spaces of the cosmos itself. In language richly nuanced yet accessible, these poems inhabit and explore fundamental questions of existence, such as time, mortality, consciousness, and matter. How did we get here? Why is there something rather than nothing? How do we live fully and lovingly as conscious creatures in an unconscious universe with no ultimate purpose or destination beyond returning to the abyss that spawned us? Shapiro brings his humor, imaginative intensity, characteristic syntactical energy, and generous heart to bear on these ultimate mysteries. In ways few poets have done, he writes from a premodern, primal sense of wonder about our postmodern world.
Latinx representation in the popular imagination has infuriated and befuddled the Latinx community for decades. These misrepresentations and stereotypes soon became as American as apple pie. But these cardboard cutouts and examples of lazy storytelling could never embody the rich traditions and histories of Latinx peoples. Not seeing real Latinxs on TV and film reels as kids inspired the authors to dive deep into the world of mainstream television and film to uncover examples of representation, good and bad. The result: a riveting ride through televisual and celluloid reels that make up mainstream culture. As pop culture experts Frederick Luis Aldama and Christopher González show, the way Latinx peoples have appeared and are still represented in mainstream TV and film narratives is as frustrating as it is illuminating. Stereotypes such as drug lords, petty criminals, buffoons, and sexed-up lovers have filled both small and silver screens—and the minds of the public. Aldama and González blaze new paths through Latinx cultural phenomena that disrupt stereotypes, breathing complexity into real Latinx subjectivities and experiences. In this grand sleuthing sweep of Latinx representation in mainstream TV and film that continues to shape the imagination of U.S. society, these two Latinx pop culture authorities call us all to scholarly action.
What was Takako Konishi really doing in North Dakota, and why did she end up dead? Did she get lost and freeze to death, as the police concluded, while searching for the fictional treasure buried in a snowbank at the end of the Coen Brothers’ film Fargo? Or was it something else that brought her there: unrequited love, ritual suicide, a meteor shower, a far-flung search for purpose? The seed of an obsession took root in struggling film student Jana Larson when she chanced upon a news bulletin about the case. Over the years and across continents, the material Jana gathered in her search for the real Takako outgrew multiple attempts at screenplays and became this remarkable, genre-bending essay that leans into the space between fact and fiction, life and death, author and subject, reality and delusion.
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Americans have had a long-standing love affair with the wilderness. As cities grew and frontiers disappeared, film emerged to feed an insatiable curiosity about wildlife. The camera promised to bring us into contact with the animal world, undetected and unarmed. Yet the camera's penetration of this world has inevitably brought human artifice and technology into the picture as well. In the first major analysis of American nature films in the twentieth century, Gregg Mitman shows how our cultural values, scientific needs, and new technologies produced the images that have shaped our contemporary view of wildlife. Like the museum and the zoo, the nature film sought to recreate the experience of unspoiled nature while appealing to a popular audience, through a blend of scientific research and commercial promotion, education and entertainment, authenticity and artifice. Travelogue-expedition films, like Teddy Roosevelt's African safari, catered to upper- and middle-class patrons who were intrigued by the exotic and entertained by the thrill of big-game hunting and collecting. The proliferation of nature movies and television shows in the 1950s, such as Disney's True-Life Adventures and Marlin Perkins's Wild Kingdom, made nature familiar and accessible to America's baby-boom generation, fostering the environmental activism of the latter part of the twentieth century. Reel Nature reveals the shifting conventions of nature films and their enormous impact on our perceptions of, and politics about, the environment. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now reveal much about the yearnings of Americans to be both close to nature and yet distinctly apart.
Real trials and courtroom movies are made for each other. Lawyers are storytellers, courtrooms are theaters, and the trial process provides drama, surprise, suspense or comedy. This book will serve as a video guide to help you identify the courtroom movies you'd like to see. It ranks each of the films on a one- to four- gavel system, with four gavels for the classics. And it answers the questions you'll be asking as you see the films. Where does truth end and trickery begin? Can lawyers really pull rabbits out of hats with unexpected courtroom stunts? Did the trial process reveal the truth-or conceal it? How well do reel trials reflect real events? These are just some of the topics you'll encounter as the authors analyze over 200 courtroom movies, including such classics as To Kill a Mockingbird, My Cousin Vinny, 12 Angry Men, and The Trial of the Chicago 7. An index at the back of the book lists all of the films reviewed in the book. The book celebrates the courtroom genre that has intrigued viewers around the world. The authors will entertain and educate you on a fascinating journey through nine decades of reel law, lawyers and justice.
Reel follows two lives that collide at a Seattle punk show, and the strange consequences that arise. Timon serves as the hyperobservant western outpost of his family's business, verifying artifacts and losing himself in deafening music and isolation. Marianne fears stagnation, and has begun to crave the rootless travel of her youth. After a tense meeting, each proceeds through a series of surreal encounters that deconstruct the lives that they've created, forcing each one into a reckoning with the world around them.
It is a fly fishing book based on 20 years of guiding clients on the river.
Defining more than 10,000 words and phrases from everyday slang to technical terms and concepts, this dictionary of the audiovisual language embraces more than 50 subject areas within film, television, and home entertainment. It includes terms from the complete lifecycle of an audiovisual work from initial concept through commercial presentation in all the major distribution channels including theatrical exhibition, television broadcast, home entertainment, and mobile media. The dictionary definitions are augmented by more than 700 illustrations, 1,600 etymologies, and nearly 2,000 encyclopedic entries that provide illuminating anecdotes, historical perspective, and clarifying details.
This book is the ideal primer for anyone wishing to participate in an Irish session. This musical gathering is apparently quite different than a blues, jazz or bluegrass jam session in that it is customary at Irish sessions to play in tight unison with the other musicians, adapting appropriate tempos, rhythms, and ornaments in an attempt to fit in with the groove. the Irish Session Tune Book features 300 reels, hornpipes, polkas, slides, and slip-jigs written without chord symbols for the melody instruments commonly played in Irish Sessions. the author shares a wealth of melodies collected over the past 10 years, the majority learned by ear at Irish sessions: fiddle, accordion, tinwhistle, tenor banjo, mandolin, bouzouki, etc. Authentic ornamentation is suggested for each tune with the admonition that ornamentation may vary from region to region and chorus to chorus.