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  9 11 and the Visual Culture of...

  Thomas Stubblefield

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  “[An] insightful view on how 9/11 is perceived in American society—the day that ‘refuses to enter history,’ the tragedy that ‘has, in effect, not yet passed.’” —Journal of Popular Culture The day the towers fell, indelible images of plummeting rubble, fire, and falling bodies were imprinted in the memories of people around the world. Images that were caught in the media loop after the disaster and coverage of the attack, its aftermath, and the wars that followed reflected a pervasive tendency to treat these tragic events as spectacle. Though the collapse of the World Trade Center was “the most photographed disaster in history,” it failed to yield a single noteworthy image of carnage. Thomas Stubblefield argues that the absence within these spectacular images is the paradox of 9/11 visual culture, which foregrounds the visual experience as it obscures the event in absence, erasure, and invisibility. From the spectral presence of the Tribute in Light to Art Spiegelman’s nearly blank New Yorker cover, from the elimination of the Twin Towers from TV shows and films to the monumental cavities of Michael Arad’s 9/11 memorial, the void became the visual shorthand for the incident. By examining configurations of invisibility and erasure across the media of photography, film, monuments, graphic novels, and digital representation, Stubblefield interprets the post-9/11 presence of absence as the reaffirmation of national identity that implicitly laid the groundwork for the impending invasions of Iraq and Afghanistan.“A concise, engaging, and thought-provoking work that asks the reader to reassess their knowledge and relationship to that moment and the resulting milieu of post 9/11 life in America.” —ARLIS/NA Reviews“Extraordinarily brilliant . . . will change how we think about disasters and tragedies. The book is a must-read for both students and practitioners of media studies.” —Repository

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  British Cinema - A Very Short...

  Charles Barr

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  Cinema has had a hugely influential role on global culture in the twentieth century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial—often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers.In this Very Short Introduction, Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the twentieth century. Considering British cinema in the wake of one of the most familiar of cinematic reference points—Alfred Hitchcock—Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language.

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  The Life and Work of Oscar...

  Jr. Earl James Young

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  Over a three-decade period that began in 1919, Oscar Micheaux wrote, directed, edited, produced, and distributed over forty films nationally and internationally. These films usually featured all-Black casts. They spanned a silent film period (1919-1930)and a talkie period (sound films) (1931-1948). Given such a background and the period in American history into which he was born, Micheaux's achievements were extraordinary and his legacy is a study of survival, persistence, and bold determination to develop a new era in Black films. The book features a commentary by actor/producer Ossie Davis and has a review copy (on the back cover) by Dr. Maya Angelou and Dr. Henry T. Sampson. This book was edited by the late Dr. Beverly J. Robinson, who was a Professor at the School of Theater, Film, and Television at UCLA for nearly 25 years.

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  Primetime Propaganda - The True...

  Ben Shapiro

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  “Vitally important, devastatingly thorough, and shockingly revealing…. After reading Primetime Propaganda, you’ll never watch TV the same way again.”—Mark LevinMovie critic Michael Medved calls Ben Shapiro, “One of our most refreshing and insightful voices on the popular culture, as well as a conscience for his much-maligned generation.” With Primetime Propaganda, the syndicated columnist and bestselling author of Brainwashed, Porn Generation, and Project President tells the shocking true story of how the most powerful medium of mass communication in human history became a vehicle for spreading the radical agenda of the left side of the political spectrum. Similar to what Bernard Goldberg’s Bias and A Slobbering Love Affair did for the liberal news machine, Shapiro’s Primetime Propaganda is an essential exposé of corrupting media bias, pulling back the curtain on widespread and unrepentant abuses of the Hollywood entertainment industry.

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  Braces

  Donald Davis

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  Braces hurt. Braces are embarrassing. Braces are inconvenient. Many get fitted with them at the very time of their life when their self-confidence is lowest and their self-consciousness is highest. This coming-of-age story, created and performed by Donald Davis, employs the author's trademark characterizations and humor to explore the state of uncertainty that getting braces throws one into. Also includes another Davis favorite, Everybody Goes to the Beach, which recalls the time he talked his mother into letting him go to Myrtle Beach with his friends under the supposedly watchful eye of one friend's grandmother, who, Davis recalls, "was a better enabler than governor".
  
  For Adults and Young Adults.
  
  
  An August House audio production.

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  Crime Classics: How Supan Got...

  Elliott Lewis

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  Brother vs. brother in old Bombay. A tiger, you know! An announcement is made that TV-Radio Life magazine has named the program, The finest radio crime series of 1953. Thomas Hyland, connoisseur of crime, student of violence and teller of murders tells another true story of crime. Set in 1856 in India it is listed in Thomas Hyland’s files as How Supan Got the Hook Outside Bombay.

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