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From its earliest days to the present, the onscreen image of the librarian has remained largely the same. A silent 1921 film set the precedent for two female librarian characters: a dowdy spinster wears glasses and a bun hairstyle, and an attractive young woman is overworked and underpaid. Silent films, however, employed a variety of characteristics for librarians, showed them at work on many different tasks, and featured them in a range of dramatic, romantic, and comedic situations. The sound era (during which librarians appeared in more than 200 films) frequently exaggerated these characteristics and situations, strongly influencing the general image of librarians. This chronologically arranged work analyzes the stereotypical image of librarians, male and female, in primarily American and British motion pictures from the silent era to the 21st century. The work briefly describes each film, offering some critical commentary, and then examines its librarian, considering every aspect of the total character from socio-economic conditions and motivations for leaving or not leaving the library, to personal attributes (such as clothing, hair, and age) and entanglements with the opposite sex, to commonly used props, plot situations and lines ("Shush!"). The work comments on whether librarians and library work are depicted accurately and analyzes the development of the public's image of a librarian. The accompanying filmography lists librarian characters and notes stereotypes such as buns and eyeglasses. With bibliography and index.
What do Casanova, Pope Pius XI, Benjamin Franklin and first lady Laura Bush have in common? At one time, all were members of the librarian profession. While librarians are often stereotyped as quiet, shy ladies who wear their gray hair in a dignified bun, that doesn't reflect the variety and diversity of today's library professionals. As of 2004, 159,000 people in the United States held the job of librarian. Although only 18 percent of that number was male, the median age for librarians was a young 47--far from the gray-haired, bun-wearing ladies of our imaginations! From pick-up lines to bumper stickers, this volume takes a light-hearted look at the many facets of the librarian occupation. Beginning with statistics, it enumerates gender divisions, personality types, salaries and educational requirements for various types of librarians including public, academic, school and special librarians. Other topics include specific occupational health risks, job-related recreation and novelty gifts for library professionals. Instances of librarians found in prose, poetry, film and musicals are also discussed.
Although the history of librarianship as an organized profession dates only as far back as the mid-19th century, the history of libraries is much older, and people have been engaged in pursuits that we recognize as librarianship for many thousands of years. This book traces librarianship from its origins in ancient times through its development in response to the need to control the flood of information in the modern world to the profound transformations brought about by the new technologies of the late 20th and early 21st centuries. The Historical Dictionary of Librarianship focuses on librarianship as a modern, organized profession, emphasizing the period beginning in the mid-19th century. Author Mary Ellen Quinn relates the history of this profession through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on important personalities, libraries around the world, and notable organizations and associations. This book is an excellent access point for students, researchers, and anyone wanting to know more about librarianship.
Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.
1970- issued in 2 vols.: v. 1, General reference, social sciences, history, economics, business; v. 2, Fine arts, humanities, science and engineering.
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