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Snapshots and Short Notes examines the photographic postcards exchanged during the first half of the twentieth century as illustrated, first-hand accounts of American life. Almost immediately after the introduction of the generic postcard at the turn of the century, innovations in small, accessible cameras added black and white photographs to the cards. The resulting combination of image and text emerged as a communication device tantamount to social media today. Postcard messages and photographs tell the stories of ordinary lives during a time of far-reaching technological, demographic, and social changes: a family’s new combine harvester that could cut 40 acres a day; a young woman trying to find work in a man’s world; the sight of an airplane in flight. However, postcards also chronicled and shared hardship and tragedy––the glaring reality of homesteading on the High Plains, natural disasters, preparations for war, and the struggles for racial and gender equality. With a meticulous eye for detail, painstaking research, and astute commentary, Wilson surveys more than 160 photographic postcards, reproduced in full color, that provide insights into every aspect of life in a time not far removed from our own.
You have the power to reinvent yourself! The power lies not in your mind alone. It’s also in your genes and DNA. It’s what makes us human. Humans change – that’s the essence of life. Everything, from the smallest plant to the largest mountain, is in the process of change. And that’s especially true with human beings. We can’t always recognize it when it happens slowly and we learn to adjust to the differences. But when a living organism stops changing, it dies. I’m not just talking about simple physical changes, here. Those changes are not that important, really. They’re going to happen, one way or another, whether we are conscious of them or not. I’m talking about psychological, emotional and spiritual changes – the kinds of changes, for instance, that mold children into mature, emotionally balanced adults. Each of us, by the time we hit senior citizenship, will have made countless choices and agonized over millions of decisions. We tend to think of them as either good or bad. Some of them led to happy, productive, constructive events. Others got us into a world of trouble. But from the perspective of age, every choice was good in this sense: it offered the opportunity to learn something. Right or wrong, good or bad, whatever the consequences that followed our decision, we learned from what we have done. That kind of learning is called experience. That’s all experience is – living through the consequences of choices and remembering what happened.
For the awesomely daring women in our lives comes the perfect gift: a jewel of a book that collects vintage candid snapshots of women enjoying unconventional activities. For the last two decades, Peter Cohen has been combing estate sales and flea markets collecting vernacular, or "found," photography taken in the middle part of the twentieth century. In his collection are countless images of women of all ages in various unconventional activities for the time: there are women swigging booze out of a bottle, boxing, playing pick-up football, smoking, or shooting arrows or guns—incongruous and playful behavior, all the while often performed in lovely dresses. Snapshots of Dangerous Women collects many of these period photographs, showcasing women from the thirties, forties, and fifties who are equal parts badass and rebellious, and, above all, clearly having a lot of fun. This charming book makes the ideal gift for the bold and free-spirited women in our lives.
The story of a young Mexican boy living in a colonia (trash dump community) who takes the first steps toward realizing his dream of getting an education.
Each story within Snapshots places the characters in situations where their past behaviors will be changed in a moment that is like a snapshot picture: freezing in time who they are in a moment but facing new challenges that will alter that snapshot and create a new reality. Eudora Welty’s quote “A good snapshot keeps a moment from going away” is a theme that permeates all of the stories in Eliot Parker’s collection of short stories, Snapshots. These stories are set in West Virginia, Ohio, and Kentucky. In the plots of the stories, the makeup of the characters is more interesting and important than the circumstances that the characters find themselves trying to manage. Each protagonist finds themselves in a complicated set of personal and professional relationships. By their nature, relationships are complicated. The protagonists in these stories are shaped by their backgrounds, life experiences, and expectations of other people. Conflicts arise for these protagonists when decisions and choices made by others alter the expectations and circumstances expected by the protagonists. In each of these stories, the lives, values, and beliefs held by the characters are deconstructed and each of them face a new reality brought on by an experience or situation that forces them to reexamine who they are and who they need to become. Each of these characters occupy a variety of professional spaces: cops, a rich, successful couple, convicted criminals, and others grieving the loss of a loved one and grieving the absence of love.
Module includes animated LCD screen, 5 spread ID buttons, an LED flash "picture taking" button, and a slideshow button includes 30 digital pictures" for the child to "take" .
Lynn Spigel explores historical snapshots of people posing in front of their television sets in the 1950s through the early 1970s, showing how TV snapshots were a popular photographic practice through which people visualized their lives in an increasingly mediated culture.
These 10 elementary solos display the excellent writing style and attention to detail that many teachers have come to expect from Martha Mier. Students will experience culture from around the world as they are guided on a musical tour through Spain, England, Australia, Mexico, Japan, and the United States. Titles: * Firecracker Boogie * Sophisticated Rag * Farewell Blues * Daintree River Crocodiles * The Great Barrier Reef * The Wallaby Hop * English Primroses * España * Mexican Salsa Cha-Cha * Japanese Temple. "These stylish pieces help bridge the gap between method book pieces and classical literature." -Lynette Zelis, Clavier Companion
An examination of the contradictions within a form of expression that is both public and private, specific and abstract, conventional and countercultural. Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. The poses may be formulaic, but a photograph of loved ones can evoke a deep affective response. In Snapshot Photography, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. Scholars of art and culture tend to discount snapshot photography; it is too ubiquitous, too unremarkable, too personal. Zuromskis argues for its significance. Snapshot photographers, she contends, are not so much creating spontaneous records of their lives as they are participating in a prescriptive cultural ritual. A snapshot is not only a record of interpersonal intimacy but also a means of linking private symbols of domestic harmony to public ideas of social conformity. Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in “vintage” snapshots; and the “snapshot aesthetic” of Andy Warhol and Nan Goldin. She finds that Warhol’s photographs of the Factory community and Goldin’s intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of “family values.” In today’s digital age, snapshot photography has become even more ubiquitous and ephemeral—and, significantly, more public. But buried within snapshot photography’s mythic construction, Zuromskis argues, is a site of democratic possibility.